Fraud means a person or a person who makes a bowl form by mixing white clay, etc., and then makes a bowl baked at a high temperature of 1300°C or higher.

In the late Joseon Dynasty, when government-controlled ceramics were closed, potters scattered across the country, and folk songs (where ceramics are made in the private sector) flourished in the provinces.

Banggok-ri, Daegang-myeon, is also widely known as one of the places where folk pottery was produced during the Joseon Dynasty, and potters who are still making traditional pottery are still active.

In particular, Seo Dong-gyu, a functional holder, was born and raised there and has been devoted to making starch. In the early days, tea cups centered on Dawan were well received by Japanese favorite artists, and melodies were reproduced using natural yuak.

Banggok-ri Melting has a unique characteristic that it does not spoil, cool quickly, and does not stick to the fat.

In addition, the intense lines, majestic shapes, and delicate yet soft droplets that appear during baking in a pine fire kiln are aesthetic expressions that no one can imitate.

The production process is as follows.

1 Prepare to remove firewood with pine trees directly removed from Hwangjeongsan Mountain

2 Mud mixing (making sand soil) with soil enriched with granite

3 Digging the sand and putting it in the water

4 Rinse out the water a few times

5 Drying soil

6 To knead and knead dry earth

7 Molding on a dough spinning wheel

8 Use fire above 900°C for 3 hours

9 Apply glaze made of lye (because it is fragile)

10 Cooking glazed bowls for 16 hours on a light fire

11 Applying ashes to burn elm trees



* Functional holder Seo Dong-gyu

Seo Dong-gyu was born in Danyang, North Chungcheong Province, in 1938 and entered Banggok pottery in 1956. Starting with the Gyeonggi-do Folk Art Competition, he will participate in various exhibitions, including the Dong-A Art Festival's entry into the craft section, the Korea Art Exhibition's special selection of the craft section, the Korea National Exhibition, the Korean Traditional Ceramics Exhibition at the Hawaii Invitation Hall in the U.S., and the Tokyo Exhibition in Japan.

In 2000, he was awarded the Minister of Labor's Commendation, and in 2001, he was awarded the Prime Minister's Commendation. By 2002, he was selected as Chungbuk Intangible Cultural Property No. 10. His family has made pottery since his grandfather's unit, and Seo Dong-gyu has been making pottery for three generations.

After his father's death, he became the head of a boy's family at the age of 14 and learned pottery skills from time to time by helping his family's livelihood in the Gwaneumni Sajeomgama. Since the age of 18, Mungyeong area has been known as a well-known swindler. He became a midwife of the Mungyeong Traditional Tea Bowl Festival in 1999 as he was selected as a master of Korean traditional tea ceremony in 1995 and became known as a craftsman who continued the tradition after the war. Although exhibitions of works have been held mainly overseas, about 80 exhibitions have been held in Korea since the 1980s due to the growing interest in Korean traditional culture. The Docheon Scholarship Association was established with the proceeds from the exhibition, and most of the donations were made to community service activities.

In order to promote and promote the excellent traditional ceramic culture, various workshops are held at Mungyeong University and Korea Art High School in Icheon, Gyeonggi-do to teach the demonstration of footmills and how to make glaze. Not long ago, it registered a patent for the first time in Korea to compensate for the shortcomings of traditional mounted kilns. Thanks to his efforts to inherit and develop the traditional culture, he was awarded the Order of Korea's Dongtan Industrial Medal in 2005, and was selected as a functional Korean in 2006 and awarded the Minister of Labor's commendation. In November 2008, he was the first Korean to receive the Order of the Japanese Order of Cultural Merit, Wookil Ssangjang. In October 2018, the Hwagwan Order of Cultural Merit was awarded to those who contributed to the development of culture and arts.

A fraud refers to a person who has the skill of making a bowl of clay, feldspar, silice and white clay from raw materials and baking it at a high temperature of more than 1300°C.

Baek Yeong-gyu has been engaged in the fishing industry for a long time and has learned much of the traditional pottery, especially in the white porcelain section, making pottery with the characteristics of the Goryeong area.

☆Kim Sun-sik, the owner, learned general techniques such as molding, plastic, and glaze from his father (Kim Bok-man) during his middle and high school years, and has been running Gwaneumyo in Galpyeong-ri, Mungyeong-eup, Gyeongsangbuk-do, since his father's death.

☆The blue and white porcelain is a white porcelain decorated with an oxidized cobalt that turns blue when it is reproduced at a high temperature of over 1200°C.
The blue-and-white porcelain, which combines a white background and a blue pattern to represent a fresh and refined decorative beauty, began to be used in the decoration of white porcelain from the Yuan Dynasty (1279-1368) in China, and was also widely produced until Ming and Qing Dynasties.

Due to this influence, blue and white porcelain began to be made in Korea around the mid-15th century in the early Joseon Dynasty, and until the late Joseon Dynasty, it was made mainly of official pottery installed in Gwangju, Gyeonggi-do.

Sagijang Han Sang-gu, an intangible cultural asset of Gyeonggi-do, succeeded his grandfather Han Sang-gu and his father Han Ho-seok, who worked at the pottery testing laboratory of the Governor-General of Korea, and succeeded his three-generation family business, using traditional kilns to produce white porcelain while sticking to the white porcelain color and the blue painting techniques of the late Joseon Dynasty.

His work is very elegant, and the manufacture of earth and the use of tools are considered to be the best reproduction of traditional blue and white porcelain.

☆Sagi is often a relative concept of pottery that does not glaze, and refers comprehensively to glazed porcelain that has been made at temperatures above 1250°C.

Sagi-jang means a master craftsman who makes porcelain, such as white porcelain, celadon, and buncheongsagi ware(a grayish-blue-powdered celadon).

During the Joseon Dynasty, 360 Sagijangs belonged to Saongwon, which was in charge of royal meals, and were in charge of producing royal white porcelain at the official residence in Gwangju, Gyeonggi-do.

White porcelain is represented by the use of white clay, which is low in iron oxide, and the reproduction at high temperatures by sampling a high-resolution glaze of feldspar series.

Sagijang Seo Kwang-soo met with artisan Ji Soon-taek in the early 1960s and began to learn pottery techniques for 25 years.

He started to run Handoyo in 1986 and has been working until now. He was designated as the 14th Master of the Republic of Korea in 2003 and the Gyeonggi-do Intangible Cultural Property (White porcelain) in 2005.

He uses a traditional firewood klin to create a variety of white porcelain works, including moon jars, which are evaluated to have perfectly embodied the milky-white color of Joseon white porcelain.

☆Sagijang refers to a person who has the ability to bake a china bowl at a high temperature of more than 1,300°C by mixing various soil.

The late Kim Yun-tae, who was the owner of Sagi-jang, was a man of Mungyeong. Mungyeong was widely distributed with red clay, white clay, sajil clay, and pottery, and the water in the valley was good, so around 1700, when artisans who had crossed over Mungyeongsaejae Hill settled down and mainly produced tea cups and semi-phase machines. The Galjeonyo of Mungyeong was a kiln run by Kim Yun-tae's grandfather, and was succeeded by Kim Jong-seong, Kim's uncle, although there was a few years of absence from the post-liberation period until the Korean War.

The production of traditional Korean ceramics can be largely divided into the divisional atomizer operated by the government and the privately owned porcelain that originated naturally in various parts of the country during the late Joseon Dynasty. Among them, the private sector can be divided into areas where skilled Sagijangs were kidnapped by Japan during the Japanese Invasion of Korea in 1592, and Kim Yun-tae inherited a kiln tradition in northern Gyeongsangbuk-do, a representative mountain area for civilian prisoners who escaped kidnapping.

Kim Yun-tae inherited the kiln from his grandfather Kim Il-bae and uncle Kim Jong-seong during the late Joseon Dynasty and produced pottery for the rest of his life. Among the fields of household porcelain and bowls were excellent.

They have the characteristics of a local kiln at the end of the Joseon Dynasty and inherit traditional techniques. In addition, the entire process of collecting clay, receiving water, making bowls, cutting, chiseling, and grilling are following the traditional production style of the late Joseon Dynasty.

Kim Yun-tae was in charge of the entire process of white porcelain production, including digging clay, pulling out the dough and air bubbles, making a lump of clay to be placed on a spinning wheel, wiping out the holes in the molded bowl, and applying glaze, as well as the role of the underwater forces in all the white porcelain production.

Kim Yun-tae did all of this, especially the traditional kiln production technology made of mangdeng (or mangsaeng) was considered the best in Korea, as few people were able to do the entire process of white porcelain production alone across the country.

Kim Yeong-gil, the eldest son of Kim Yun-tae, was recognized as the owner of Sagijang in March 2015 for his ability to carry out not only his father's traditional techniques but also his family's construction of kilns and spinning wheels using Mangsaeng, and to handle the entire process of making traditional white porcelain by himself.

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.

Earthenware is divided into ceramics and porcelain, depending on how clay-made objects are baked. An object mixed with white clay and baked at a high temperature is called china or porcelain. Sagijang refers to this skill or to an officially recognized artisan with such a skill.

Ceramics and porcelain, particularly blue porcelain made during the Goryeo Period (877 – 1394) and thereafter are recognized as the best in the world. During the Joseon Period (1392 – 1910), Saongwon (Palace Kitchen Management) was in charge of porcelain production. Its branch in Gyeonggi-do made special objects to be used by the royal family.

The government-run porcelain kilns were closed toward the late Joseon Period, following which porcelain artisans started private businesses in Mungyeong, Goisan, and Danyang.

As for the process of china production, first of all, sandy soil is put into water to remove foreign materials. A desired form of is made with the soil, using a foot-operated spinning wheel. The object is then put into a kiln for pre-firing. Glaze is applied to the pre-fired object, and it is again put into a kiln for second firing.

Experts say that grayish-blue-powdered celadon of Joseon evokes a folksy and lively feeling, while white porcelain evokes the character of a gracious scholar.

Sagijang (Ceramic Making) refers to a person who has the skill of making a bowl of clay, feldspar, silice and white clay from raw materials and baking it at a high temperature of more than 1300°C.

Among them, buncheong ware is made of clay and is made of white clay powder or inlaid design, and white porcelain is made of pure white clay and baked with transparent glaze on top of it.

The family of Yi Hak-cheon, designated as a functional holder, has been in the vanguard of traditional pottery for seven generations. He was also recognized as a master potter in 2002.

The works of Cheonghwa White Porcelain, Buncheongsagi, Cosmetics White Porcelain Temple, and Ungcheon Sabal are mainly produced using traditional techniques such as balmulae and jangjaema.

Kim Yeong-sik was a descendant of a fraud master in the late Joseon Dynasty who was followed by Kim Chui-jung, the eighth king of the Joseon Dynasty, who naturally learned the art of grilling soil over his shoulders from childhood, and helped his father's kiln work at middle and high school facilities. After his father (Kim Bok-man) died in 1989, he learned skills by visiting his uncle, Kim Jeong-ok (National Intangible Cultural Heritage No. 105), to succeed the family business. After three years of mastering pottery techniques, he opened 'Joseonyo' in 1991 and continued his pottery career.



He entered the school in 1989 and was selected as the 105th student of the Important Intangible Cultural Property in 1996 and became the recipient in 2002. In addition, he showed his ability through various domestic and international contests and pottery exhibitions, including the Encouragement Prize for the Korean Traditional Crafts Competition and the Best Crafts Award for the Modern Art Exhibition. In December 2012, the museum was opened to convey the history of Mungyeong fraud.



The white porcelain coated with a transparent glaze on the white porcelain of the texture is more of a blue-green color than a pure white white, a white porcelain used in the royal family and the aristocrats of the past.Unlike the white porcelain of Yubaek, this Joseon white porcelain provides a lot of water, giving no burden to 'Twim'. This is because the iron mixed in the soil comes out and the sparks of the writer Jang sit on the bowl. His work is regarded as the best in depth and scenery for pursuing a simple form of natural beauty that is not crafty but less decorated.