Onggijang Bae Yo-seop (Residence in Sinnae-dong, Jungnang-gu, 1926) is a four-generation Onggi craftsman who has continued to work as a Hanmi-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Toga (meaning the Bae family that runs beautiful Korean kiln). It was recognized as a holder on September 25, 2002 and became an honorary holder on April 13, 2017.

It is producing 'Puredog', which is baked without glaze or lye, which is classified as a high-quality onggi.

The word "pure" is the pure Korean word for "purple," and poison refers to a large bowl with a pear.

"Pure Dogg" is a bowl made with salt, one of the state-run items, and was used as a Buddhist item for Buddhist temples given to the royal family or royal family in Korea.

Bae Yo-seop's great-great-grandfather, Pyo Dae-gyeom (Francisco), joined the Catholic Church in the Chungcheong-do region, where Catholic faith first spread to Korea in the late Joseon Dynasty, and served as a lay leader in Dangjin, Chungcheong-do.

As many Onggi artisans did, they began to burn onggi in the mountains with their families to avoid the persecution of Catholicism by Heungseon Daewongun.

The martyrdom of Pyo Dong-gyeom (Francisco) in 1800 and his eldest son Bae Cheong-mo (Augustino) in 1829 while transcribing Catholic books led to the production of pottery as a family business by Bae Dae-bong, his third son.

Bae lived in Eumseong, Chungcheong-do, hiding his family's martyrdom, and learned how to make Puredog, the best onggi technique of the time.

Since then, Bae Dae-chun, the son of Bae Dae-bong, has been passed down for three generations, and Bae Bae Bae-seok, the son of Bae Dae-chun, has been handed down for four generations. The baeuiseok Japanese Icheon to the South of France and moderate damage, made a rapid demand after the onggi remote areas to production.

Bae's eldest son, Bae Yo-seop, moved from Icheon to Yeongdeungpo, Seoul, and started his family business as a fifth generation from 1942 with his father Bae Bae-seok at the recommendation of his grandmother.

In 1955, he moved to the Onggi branch in Sinnae-dong, Jungnang-gu, Seoul, and opened a Onggi Onggi restaurant called <Hanmi Yoyup> with his father, and carried out production activities while maintaining its own onggi style, mainly in Seoul and Gyeonggi Province.

When his father died in 1968, when he was 42 years old, he took the initiative in operating the workshop. In the early 1980s, he was able to produce onggi mainly in the era of increased demand for onggi during the Korean War, but in the early 1980s, his second son Bae Yeon-sik and his family business, Puredog, were re-produced.

It went through as many trials and errors as it had not been produced for a while and was designated as an intangible cultural asset of Seoul in recognition of its achievements.

After the relocation of the workshop to Songcheon-ri, Namyangju, Gyeonggi-do in 1992 due to the development of an apartment complex in Sinnae-dong, Jungnang-gu, Seoul, Bae Yo-seop's second son Bae Yeon-sik worked on the Puregi.

'Pure Dogi' means 'Pure' in 'Purple' and 'Pottery', which is completed at a high temperature of 1300 degrees without glaze or lye on the surface using pure yellow soil, and is further developed in materials and plasticization methods than the existing Puredogg.

It was developed as a rural housing complex around the Songcheon-ri workshop in Namyangju, Gyeonggi Province, and moved the workshop to Seosin-myeon, Hwaseong-si, Gyeonggi-do in 2009. Now Bae Yo-seop's second son Bae Yeon-sik runs the Korea-U.S. Yobae City Toga for the sixth generation, while his granddaughter Bae Eun-kyung and Bae Sae-rom, who are in charge of seven family businesses, run the Puregi Institute.

bbb※※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616). </bb

Park Jae-hwan began to transfer the production of pottery from his grandfather, Park Ki-seok, and his father, Park Pal-won, around 1948. From 1958 to 1970, Onggi manufacturing techniques were introduced at Onggi factories in Chungbuk, Gyeonggi, Chungnam, and Incheon. In 1971, the Onggi Factory was established at its current location and has continued to be produced.

Onggi production processes such as Bajil, Daejangil, and Gamil are carried out in traditional onggi production methods. Onggi-making tools such as spinning wheels, ttukmae, painting, bat, and supporting wood have traditional styles. Natural materials such as pine needles, bean pods, and grass leaves are used in combination with medicinal soil according to traditional methods as raw materials for lye.

The 9-kan kiln is a traditional earthenware built with slightly different slopes considering the influence and temperature of the fire. According to the status of the onggi production, Park Jae-hwan's grandfather settled in Osong-eup, Heungdeok-gu, Cheongju-si and led to his grandfather Park Ki-seok and father Park Pal-won, who became a means of making onggi for his entire life. He was interested in onggi production at the age of 11 and has been continuously working on the on the onggi production technology for 50 years.

According to the characteristics, Bongsan-ri, Osong-eup, where Park Jae-hwan's onggi production plant is located, has a lot of quality clay suitable for onggi production, so it is noteworthy that onggi is made using only clay from this area without inflow of outside clay. The fact that this village is a "occupation village" also shows that these onggi production activities have been carried out, and the traditional onggi-making system is equipped with a 9-kan traditional onggi kiln facility, which is not easily found today, and the traditional onggi-making technology continues.

Park Jae-hwan has been actively working on Onggi production in the traditional Onggi production method throughout his life. The preservation and restoration of traditional onggi production techniques has continued to be carried out in the traditional onggi production method.

Onggi is a general term for earthenware and earthenware, and onggi is a pottery that does not have a glaze, and onggi is a pottery that is made of glaze, which corresponds to a narrow meaning.

Unglazed pottery was the main focus until the Goryeo Dynasty, but from the mid-Joseon Dynasty, black-brown pottery with onggi was produced, and glazed pottery became common in the late Joseon Dynasty.

Records show that large earthenware jars, called "Ong," were used to store or store liquids or foods such as alcohol, water, soy sauce, and salted fish before the Goryeo Dynasty. It was recently discovered that large quantities of pottery jars excavated from the Taean Mado Sea were used to store water or transport salted fish.

During the Joseon Dynasty, pottery craftsmen were referred to as "gongjang." According to the "Gyeonggukdaejeon" exhibition factory, 104 of them belonged to 14 central government offices and produced pottery needed by the royal family and government offices.

Pottery, including onggi, was used in a wide class from the royal family to the private sector and developed with regional characteristics in relation to climate or use.

Kim Il-man, who was designated as an intangible cultural asset in Gyeonggi Province in 2002, is from a family that has been making pottery for six generations and has devoted himself to making traditional pottery in Gyeonggi Province using three traditional kilns from the late Joseon Dynasty.

In 2010, he was promoted to the state-designated Important Intangible Cultural Property No. 96, and his sons, Kim Seong-ho and Kim Yong-ho, were designated as messengers, continuing the tradition of Onggi production in Gyeonggi Province.

Baek Gwang-hoon has passed down the Onggi manufacturing method in Yeongdeok region over a number of generations, adhering to the traditional Onggi manufacturing method, and has been making Onggi on a single road for more than 40 years. Moreover, it is the last bastion of Onggi-il in Yeongdeok, North Gyeongsang Province, where Ong-saeng was the most successful.

Having been handed down for nine generations for 300 years, 'Miyeok Onggi' stubbornly follows the recipe of traditional onggi, making it by hand, and especially applying natural glaze.

The most important quality clay, known as natural glaze, is made by mixing pine trees with iron-containing medicinal soil. It is known that it makes fine holes on the surface of the onggi that allow air to pass through, so that it does not spoil or spoil even if it is stored over the years, maintains the taste and freshness of the food for a long time, and even acts as a natural self-regulation that removes pollutants.

In particular, this region's unique onggi method, which is made by beating and baking in lye, is not only harmless to the human body but also has a living and breathing bio-effect.

In addition, the company consistently produces small and friendly earthenware unique to the southern part of the country, focusing on continuing the traditional Onggi tradition.

An Si-seong, a Onggi master who is working hard to make Onggi in Buggeori, Baeksan-myeon, Gimje, was taught the traditional way of working and the spirit of Onggi craftsman by Byeon Dong-soon, who was famous for Onggi Village in Buggeori in 1992.

He has been the only preserved onggi kiln and workshop in Korea for more than 20 years, contributing to the designation of the site as a national registered cultural property. He has continued to develop products necessary for real life while reproducing the traditional production methods inherited from the Gimje onggi street.

Also, as a product of the Confucian social status system, Onggijang is a place where the villagers' negative perception of Onggi-ma is held and gradually contributed to the creation of a harmonious atmosphere with the villagers.

The Jinan Plateau, called the roof of Honam, is a treasure house of the Kiln Site. Jinan County, North Jeolla Province, also had the highest concentration of pottery on the Jinan Plateau, where onggi production was brisk due to the large amount of clay and abundant firewood. The geopolitical advantage or dynamism as a cultural contact area is inherent in the Onggi culture of the Jinan Plateau area, which is revealed specifically in the Onggi Point custom and the formation of Onggi.



Sonnae Onggi, Pyeongjang-ri, Baegun-myeon, Jinan-gun, Jeonbuk, is also in line with the tradition of the Jinan Plateau ceramic culture, and the historical and sustainability of the local Onggi related to the village's geographical name is still valid to this day, making it a representative Onggi point that has been producing the Jinan Plateau-type Onggi.

It is recorded that there was a pottery shop called 'Osa Yori' in the Sangju Woodblock of King Sejong Silokji during the Joseon Dynasty. Jeong Hak-bong's Ong Enterprise is now in its fourth generation, a family business that began during his high years. From the time of Gojobu to the time of his grandfather, he worked at the Onggi Factory in Sangju and Boeun, and settled in his current position when he was a famous Ong Enterprise.

Various earthenware made using traditional methods of production will come out of the world through Yeonsilyo, a traditional six-room jangja exposed to the ground. The production works are centered on the names of living containers that can be easily used in everyday life, such as the complex, various pots, kunju, jabaegi, various semi-phase machines, and ttukbaegi. Onggi's production methods, processes, types of products, and formability are meaningful in that they not only faithfully inherit the basics of traditional onggi production, but also continue the traditional onggi production in the Sangju area.

☆ Onggi is a Korean traditional craft, which has been developed since the Neolithic Age, using clay and natural ash to make earthenware at a high temperature of 1,200°C.

Onggi is a clay-baked bowl, which has numerous fine holes and passes through air and moisture, but does not pass through water molecules with thick particles. So the onggi can breathe, and the contents can be kept fresh without leaking.

This onggi-making technology developed in Ulsan in 1957 when Mr.Heo Deok-man from Yeongdeok-gun, Gyeongsangbuk-do moved to Ulsan and settled in Gosan-ri, Onyang-eup to train the younger generation. Since then, the current onggi village has been formed.

Oegosan Onggi Village is the largest onggi village in Korea. During the heyday of the 1960s, the nation's best craftsmen gathered to achieve prosperity and continued the tradition of traditional Korean onggi.

The Ulju Oegosan Onggi Association, a functional holding organization, is a group of eight members who have been engaged in onggi production for at least 30 to 50 years, and has sufficient traditional onggi making techniques and techniques such as molding traditional onggi (feet) spinning, making and simulating traditional glaze, and traditional oysters.

☆Bang Chun-woong has done onggi making as his main occupation following his great-grandfather Bang Yeon-ha and his father Bang Soon-bok. Upon his father's early death(1954), he began to learn from the teachings of the late Lee Yeong-jun(1901~1973), and became the leader of onggi handicraft team. The contents of the work are kiln-making, Chungcheong-do traditional earthenware making and fire burning.

Currently, he is trying to achieve the maturity of culture that can discover the function and beauty of Onggi by understanding, teaching, and promoting traditional Onggi culture to students who are growing up through Onggi Experience Center and those who are interested in Onggi.

☆Onggi-jang Lee Ji-soo has been inheriting the Onggi production for four generations since his grandfather settled in Onggi Village to avoid persecution by the Catholic Church. The Onggi Village in Geumsan-ri, Dogo-myeon was the best onggi-making village in the Janghangseon area until about 50 years ago, but only Lee Ji-su is currently making Onggi now.

☆Cheongsong, Gyeongsangbuk-do, has produced a lot of high-quality five-color clay since the Joseon Dynasty. Using such good materials, many Onggi stores in the Cheongsong area have been able to produce a large quantity of high-quality onggi. In Songgang-ri, Pacheon-myeon, Cheongsong-gun, Bugok-ri, Jinbo-myeon, and Nojae, Andeok-myeon, many Onggi were produced, and their onggi was distributed nationwide as well as in the neighboring areas.

However, as the use of plastic, glass and stainless steel containers increased due to changes in the living environment since the 1970s, the demand for onggi gradually decreased. Also, with the mass production of onggi in modernized onggi factories equipped with facilities such as electromagnetism, traditional onggi stores have gradually been pushed out of the competition.

Under these circumstances, the traditional Onggi stores in the Cheongsong area are almost gone, and the Onggi Workshop run by the Lee Moo-nam family in Jinan-ri, Jinbo-myeon is the only one that continues the tradition of Cheongsong Onggi. Yi Mu-nam, who was designated as Gyeongsangbuk-do Intangible Cultural Property No. 25 in 1997, has been producing Onggi in a traditional manner for five generations from his great-grandfather to his son's generation.

Onggijang refers to the skill of making earthenware pots and jars, or to an artisan with such a skill. Koreans have used earthenware pots and jars for thousands of years. The place where an earthenware artisan worked was called Onggijeom, which was divided into a workshop and a kiln.

Traditional pots and jars, along with porcelain items, were the main items produced in private kilns. Pots and jars were made after the application of caustic soda to the surface of clay-made objects and putting them through a pre-firing stage. Just 40 or 50 years ago, there were many places selling traditional pots and jars across the country. Their number stood at about 500 when surveys were made in 1968 and 1969. However, they have been pushed aside by their machine-made western cousins.

Traditionally, caustic soda was used as glazing in the production of pots and jars. Recently, it was replaced by a lead oxide named Gwangmyeongdan. With the use of lead glazing, the quality of pots and jars declined and the number of Onggijeom decreased to about 250 by 1984 and to less than 199 by 1989. Stainless steel and plastic goods have pushed traditional pots and jars out of the market.

Buncheong celadon is short for "Bunjanghoe celadon," which is characterized by applying the surface of the bowl with white clay and then using various techniques. It was produced in the early Joseon Dynasty with the origin of inlaid celadon at the end of the Goryeo Dynasty. In particular, in the reign of King Sejong, the painting division was at its peak and was donated as a government official, and was used in the royal family and government offices, and various decorative techniques were featured in each region.

However, as the production of white porcelain began in earnest in Gwangju, Gyeonggi-do, in the late 15th century, Buncheong ware gradually declined, and was rarely produced from the late 16th century.

The decorating technique used in buncheong ware is greatly inlaid.printing, foresight, and gourd paperIron, gwiyal, and dumbung are typical, showing characteristics according to timing and region. Up until the early 15th century, inlaid buncheong, which inherited the techniques and characteristics of inlaid celadon at the end of the Goryeo Dynasty, was mainly made, but in the mid-15th century, inlaid buncheong, which was painted with a seal applied to the entire surface of the inlaid painting technique from the end of the Goryeo Dynasty, inlaid with white clay, was very popular.

In the late 15th century, the incineration technique, which deeply engraved patterns on the surface of white clay, and the stripping technique, which scratched the background after pre-disting the patterns on the surface of the white clay, were produced in Jeolla-do, and the iron painting technique, which was expressed in a brush with iron oxide pigment, were produced in Chungcheong-do, respectively. Gwiyal and Dumbung techniques, which were applied with white clay brush or dipped in white clay to make up the entire surface, showed the tendency of white porcelain and were mainly produced from the late 15th to the early 16th century.

Park Sang-jin, a swindler of Gyeonggi-do Intangible Cultural Property Buncheongsagi, entered Ji Soon-taek's "Goryeo Doyo" (currently Ji Soon Taek-yo) in 1971 and mastered the art of Buncheongsagi for about 13 years in Park Bu-won's "Do Won-yo" from 1974. In 1987, Gaecheonyo was established independently and continued to produce buncheong ware. In 2011, it was designated as Gyeonggi-do Intangible Cultural Property BuncheOnggijang. Along with a variety of works based on the techniques and characteristics of traditional buncheong ware, the company is also trying to work on modern-day buncheong ware, which boldly transformed the branching method.

refers to a person who has or has the function of making a thigh used as a drinking water carrier in Jeju.

Habuck is a drinking water transport tool traditionally used in Jeju, and is produced in a unique style created naturally in Jeju's natural environment and humanities background. In particular, clay produced in Jeju Island without glaze was used, and was made based on practicality with unique manufacturing techniques and senses. It is gradually made into a unique shape according to its function and has its own characteristics in color and pattern.

Born in a family that makes pottery in Jeju, Shin Chang-hyun, who has mastered the art of making pottery since the age of 15, is striving to preserve the original form of Habuck and to inherit the technology.



※ 2011.07.27 Jeju Island thighs → Jeju Island Onggijang (2011.09.27 Jeju Special Self-Governing Province Notice)