I. The evolution of contemporary Korean celadon
No documentation exist that record the first time celadon was created in Korea. Records from Korea’s Japanese occupation era show that Japanese industrialist Tomita Seiichi established the Tomita Co. Ltd., in the town of Nampo in South P'yong'an Province (now North Korea) in 1908 and began celadon production there, and subsequently established the Hanyang Korea Kiln in Jung-gu Mukjeong-dong. Both the Tomita Co., Ltd. And the Hanyang Korea Kiln manufactured a range of ceramic products including celadon and other porcelain, most likely vessels for household use.
Records from that era show the existence of other kilns and their locations, but it remains unclear whether there were any that specialized in celadon ware. Documentation exist noting that a celadon work was selected for the 1922 Japanese curated Chosun Art Exhibition. Kim, Wan-bae's 1934 work “Celadon Haet’ae Incense Urn” was selected for the exhibition, and Lee, Yoon-kyu’s work “Celadon Inlaid Vase” was selected in 1939, but the quality of these works were not particularly fine.
Shortly after Korea declared independence in 1945, the country became embroiled in the Korean War erupted in 1950. Ceramic production ceased almost completely. There was a poor showing of ceramic works in the 1953 Republic of Korea Art Exhibition, held following the ceasefire.
In October of 1955, then director Kim, Chae-won of the National Museum of Korea and art historian Choi, Su- nu jointly founded the “Korean Design Culture Research Institute” to encourage research in Korean culture and tradition. The institute focused on printmaking, dyeing and ceramics, and constructed a kiln in Seoul’s Sungbuk-dong to encourage kiln-fired works. The production of contemporary ceramic works was gradually reignited with support from the government and the public. An “Exhibition of New Ceramic Works” was held at the National Museum in September of 1957, but such events ceased by 1962 due to lack of funding.
A year after the Korean Design Culture Research Institute was established (1956), sculptor Yoon, Hyo-jung established the “Korean Art Research Institute” in Seoul’s Taebang-dong. The motivation behind the establishment of the Korean Art Research Institute was different from that of the Korean Design Culture Institute. The former focused on reviving the beauty of classical Korean celadon by focusing on works from traditional terraced kilns and rectangular kilns. The fruits of their effort was exhibited at the “First Annual Ceramic Craft Exhibition", a year before the “Exhibition of New Ceramic Creations” was held by the Korean Art Research Institute. In May of 1957, the “Second Annual Korean Art Research Institute Ceramics Exhibition,” open to the public, included more than
40 celadon, porcelain and blue-glazed ceramic works, but discontinued in 1958 due to lack of funding.
From the above, it can be deduced that the production of contemporary Korean ceramics began quite early, but many of these works have unfortunately been lost and it is impossible to understand the standard of work from that era. Subsequent to Korean independence, the two research institutes continued the production of celadon. Though the institutes were short-lived, the ceramics craftsmen from the two institutes gradually moved to Incheon in Gyeonggi Do where they established kilns and workshops and laid the foundations for contemporary Korean celadon ware.
In addition, the foreign-sponsored “Korean Arts and Crafts Center” established in June 1956 in Seoul has made considerable contributions to the research and development of ceramic and other craft before the center closed its doors in 1960. Its role in the development of Korean crafts and industrial design was notable. Specifically, the
center laid a solid foundation for Korean ceramic education. At the time, Korean researchers working at the center
included Won, Dai-chung, Kim, Yik-yung, and Kwon, Soon-hyung, many of whom became university professors
at Hongik University, Kookmin University, Seoul National University among others, breaking new ground for
ceramics education and nurturing the next generation of young ceramicists.
The three research institutions provided developmental direction, reference sources, and ideas for Korean celadon
art, but their effects and influence were limited by the brevity of their existence.
A central figure responsible for the popularity, prevalence, research and development of contemporary Korean
celadon is Hwang, Jong-gu. Hwang, Jong-gu began actively promoting pottery while teaching at the Ceramics
Department of Ewha Women’s University. During his tenure at the university he began offering lectures in
ceramics, and in August of that year, he constructed a terraced kiln which provided basic facilities for the lectures. In November of that year, a public exhibition of works of the “First Successful Kiln Firing” was held, and proceeds
from the sale of these works were reinvested in the research and development of the celadon industry. By 1961, the
ceramics movement was more lively and popular than ever.
The development of celadon research followed two trajectories after this point. One revolved around the
universities, and the other led by craftsmen in Icheon, Gyeonggi-do. Researchers specializing in celadon and other
contemporary ceramics began to emerge in universities such as Ewha and other universities in the nation’s capital,
though none of the universities had established a concentration specializing solely in celadon ware. Though many
ceramics craftsmen from the Korean Design Culture Institute and Korean Art Research Institute had established
themselves in Icheon and continued to create ceramic ware, only a handful specialized in celadon. The Haegang
Kiln-representative of kilns that specialize in celadon ware-was established as the Haegang Ceramics Museum in
May of 1990 by researcher Yu, Keun-Hyung of the Korean Design Culture Institute. It was the first museum in
the nation to focus on the preservation and research of celadon ware. Since its founding, the museum has focused
on locating celadon kilns such as Kangjin Kiln, etc., and documenting celadon kilns throughout the nation, and
expanding its focus from there.
On September 3, 1997, the Kangjin Celadon Museum was established at the site of the Koryo Celadon kiln. Kangjin is the only official kiln during the five centuries (9 A.D. to 14 A.D.) of the Koryo Dynasty, producing celadon for the imperial court. The fine “inlaid celadon” was first developed at the Kangjin Kiln. The original mission for establishing this museum was to find and preserve Kangjin celadon ware. Workshops were establised to reproduce Koryo celadon and pursue the beauty of celadon, and to provide opportunities for the general public to experiment with, create, or emulate Koryo celadon ware. The celadon museum holds an annual competition of
celadon works, which has attracted the participation of many professional ceramicists.
The newly constructed Buan Celadon Museum was established in April of 2011 in Jeollabuk-do, and has become a focal point for celadon research. This new celadon museum is located next to the site of the Buan-gun Jeollabuk- do Kiln, and because of this location it has attracted the attention of national and domestic researchers interested in the emergence, deterioration, and evolution of the Buan Kiln, as well as the kiln’s special characteristics and its inlaid celadon, etc. This specialized museum provides invaluable reference materials for specialists in harvesting and training clay, kiln technology, as well as information on transporting products and delivery routes. The museum includes an exhibit of the cargo ships and archeological models, etc., to enable visitors to gain a better understanding of the history and culture related to celadon.
The evolution of contemporary Korean celadon ware has taken place over roughly five decades, beginning in the late 1950s until the present day. Korean economic recovery efforts in the 1960s and 1970s left little resources available to focus on celadon or other cultural products, and as a result little documentation of early contemporary celadon
survives. The establishment of three specialized celadon museums brought increasing attention to the value of celadon, and allowed ceramicists to find their creative roots in celadon ware. From this perspective, contemporary Korean celadon is still at the starting line of its long-range development.
II. An overview of contemporary Korean celadon
The works participating in the current exhibition “Ambient Green Flow-he Emergence and Rise of East Asian Celadon” fall into two main categories. The first include skillful traditional classical works; in the second group are works that have little or no traditional experience, but have a rich contemporary aesthetic. The second group of work is further divided into three groups: works that focus on classical celadon creations; works that are reinterpretations and reconstructions; and works that represent the artists’ own style. In other words, while one school of thought emphasizes tradition, another is intent on the pursuit of self-expression.
Classical celadon Classical school of traditional heritage: Though there are a number of stylistic differences between individual works,
each uses traditional techniques and principles. Whether thrown on the wheel, inlaid, engraved, carved, or with etched patterns, the glaze color emulates the crisp green of Koryo celadon. The glaze may or may not be crackled. Hwang, Jong-gu’s works are mature and stable, but their forms are not present in Koryo celadon. They are rich in contemporary feel and imagination. He applies the ubiquitous Koryo “cloud and crane” and “changing grass” inlay patterns on the surface of his vessels in a lively manner that is reminiscent of paintings, which appeals to the general public. Hwang Jong-gu began working in celadon in the latter half of the 1950s. His work are tradition with a touch of contemporary feel.
Choi, In-kyu’s works are a departure from Koryo celadon styles. The carved double bamboo pattern is not seenin classical Koryo celadon. The works have the aesthetic of Chosun-era white porcelain or green-glaze. The lotus pattern at the lower portion of this work is symbolic of Koryo heritage. The inlay techniques have been inherited from Koryo tradition, but the patterns follow the artist’s invidual style. For instance, the chrysanthemum pattern on the shoulder appears in Koryo celadon, while the fish pattern typical in Chosun green-glaze is used as the main decorative pattern in the body of the vessel – exemplifying the artist’s unique style.
The clay body, glaze and formation of these two works by Kim, Pan-ki follow traditional heritage, but the shape and surface treatment he employs is unmistakably contemporary. The geometric lines such as the “combed” lines of the Neolithic era comprise the main pattern of the vessel. Combining the Neolithic, Koryo and contemporary details gives his work a wonderful sense of transcending time and space. One of the works was inlaid with red and then a short detailed comb-pattern was applied. The other uses a similar engraving on the surface before a decorative pattern in iron glaze was applied. The former creates a strong red-green contrast; and the
latter creates a physical contrast between raw clay and crisp green.
Yi, Yoon-shin follows traditional production methods to throw the clay. The emphasis of the work is the application of formalized technologies in creating formless vessels, to express the characteristics of clay and the experimental spirit of the ceramicist. The artist highlights the characteristics of the clay during the production process by intentionally wiping away some of the glaze so that the contrast and independence of the vessel, clay and glaze can be presented simultaneously.
Lee, Dong-ha’s work includes a deformed incense burner, and a box. Both of these works include a lid, to pique the curiosity of the viewer as to what the vessels might contain. The artist’s intent seems to be to express a personal philosophy, and this intention is expressed by the vessel. Most viewers might assume that the function of a vessel is to contain or hold another object, but Lee, Dong-ha seems to emphasize here that these vessels conceal another function.

Another interpretation of celadon
While upholding the traditional materials and techniques of celadon, its unique characteristics are used as a means for design. The general audience often overlooks the content, design and style of the artist, or what the artist intend to express. On the contrary, the main focus of concern for most members of the public, as they learn more about celadon, concerns issues about classicism and tradition, its form and the crispness of its green glaze.
Kim, Soo-jeong’s works fully express the characteristic aesthetics and charm of celadon. She applies the decorative patterns like the Tang grass pattern in semi-relief, reviving historical techniques. The vivid leaves applied in thin lines underneath the glaze surface create a unique aesthetic. The thriving Tang grass design he utilizes in the second work have overgrown the rhombus shaped window, exuding a palpable vitality.
Park, Jung-gun intends to express the value of labor through his celadon work. In fact, Goryeo celadon was itself the product of endless endeavor and the accumulated experience of craftsmen. Modern man has replaced labor and human effort with machines, and as a result, human intelligence, knowledge and thought have become increasingly detached from human society. In his written work, Park Junggun consistently emphasizes the value of human labor, and warns against the shortcomings of endless mechanization and digitization.
Hwang, Ji-hye’s work expresses the aesthetics of celadon clay and glaze. Variations in the composition of clay, and the contrast between copper reds and blue-white pottery, play up the subtle differences in each of the pieces (small pottery pieces). Her work incorporates organic materials and plants that combine to generate distinctive designs and textures; she also uses casting techniques to form vessels whose almost-natural forms are decorated with man-made objects to achieve an effect of multiple layers of variation. Another technique is the application of celadon glaze to create subtle changes in the natural textures on the smooth surface of the vessels.
Kang, Eun-yong’s work seems to dissect the anatomy that comprises the dream world of celadon, and present it in all its nakedness. Her work depicts mysterious clouds and cranes floating in a realistic world, among pagodas and castles, with deer running amongst the legendary red grasses of immortality. Through these scenarios the ceramist expresses a sense of hyperrealism.

Re-inventing celadon
The lengthy history of celadon production brings with it a tremendous amount of pressure. Many ceramicists either work toward emulating ancient celadon ware or toward innovation; they blindly pursue an idolized appearance of celadon and neglect celadon long existence.
Lee, Soo-jong is aware of these issues. In the first of his two works for this exhibition, he attempts to reveal a primitive “clay” and “glaze” by abandoning all embellishment and returning to the original character of celadon. The other piece consists of fragments of a cloud-crane plum blossom vase, where the idolized form of a cloud-crane plum blossom vase is intentionally destroyed and then recombined using concrete, accompanied by a business card with a name and phone number-the work conveys the message that celadon are utilitarian objects and not objects of worship.
Kang, Jun-young believes that celadon is an unfamiliar object, and attempts to get close to it to understand it, resulting in a rudimentary understanding of celadon glaze colors. While studying abroad in his youth, Kang Jun-young overcame his loneliness with his comfort object of a “snow boat.” The snow boat gave him a sense of concrete existence. The strangeness of unfamiliar objects and events dissolves and become familiar and real with repeated encounter. Intimacy enables a better understanding of the other. The reality of “celadon” is as unfamiliar to Kang Junyoung as the snow boat was in his youth. Undoubtedly he will eventually have a complete understanding of celadon.
Yoo, Eui-jeong is concerned with the cultural exchange and co-dependence in contemporary society. His work combines symbols of Eastern culture-porcelain, Buddhist sculpture-with elements that symbolize Western capitalism, such as “Coca Cola,” “McDonalds,” and “Nike;” or, Mickey Mouse may be the central pattern in her inlaid celadon ware. Combining these contrasting patterns in one work is not often seen, though such sacrilegious tone is not new in the parlance of contemporary art. Yoo, Eui-jeong position herself between affirmation and negation, between anxiety and stability, change and evolution with hopes to better understand these events and objects. What she ultimately discovers is that celadon is plays a supportive role in maintain these two distinct elements.
Choi, Bo-ram’s work is characterized by the combination of many small parts into one to achieve a composite work. Her large-scale work in this exhibition has a celadon glaze on the exterior wall, with a luster in the clay. The interior wall is composed of unglazed dark clay. Three objects have been installed in the space between the interior and exterior walls, and when subjected to external pressure, the objects reverberate and move. The artists attempts to express how the impression and definition of celadon’s “stability” is immediately reflected and responded to in its design when exterior pressures are applied.
The style, content and form of the 13 ceramic artists introduced above each have their unique character and freedom of expression, but they have not achieved a state of perfection. In recent years, there have been a growing number of academics and researchers who have contributed to the study of celadon, but a definitive aesthetic theory or critical definition of celadon has yet to be established. The author believes that this is true of academic circles in Taiwan, Japan and mainland China. Celadon is typically believed to be a cultural relic of a bygone era. Its technical achievements and the crystallization of art and technology achieved are categorized chronologically. Contemporary celadon aspires to the glorious past of celadon, disregards external critique, and resists developing new areas.
Contemporary attitude toward art and celadon is one of indifference, reflecting an indifference in society at large. A recent exhibition focusing on celadon was held from April 26 to June 21, 2009 at the Haegang Ceramic Museum in Korea, entitled “Five Narratives on the Interpretation of Celadon”, with designer Alessandro Mendini, artists Byron Kim and Yee, Sook-yung, photographers Koo, Bohn-chang and ceramicists Yi, Yoon-shin and Yoo, Hae-gang participating. The mission of the exhibition was stated as follows: To contemplate the inner beauty of celadon, and hold in one’s hand the aesthetics of 500 years of the Goryeo dynasty. The stylistic language of celadon is inherently elegant and cool. This exhibition attempts to return to the original aesthetic of celadon, and to bring the public back to the past. The innovations in the stylistic language of new celadon have created new forms, color and aesthetics. By presenting these new works of individual expression alongside household celadon, the viewer will experience a different aesthetic.
The works exhibited at the Haegang Ceramic Museum are not limited to celadon. Exhibition participants approached celadon from their own scope, field of expertise, and perspective. The museum itself abandoned its own perspective and subjectivity in an effort to return to times of old and explore the aesthetics of that era, to expand the artistic boundaries from this definition of celadon. From this, to understand the effort and aesthetic evaluation behind official attempts to “re-explain celadon”.

This exhibition “Ambient Green Flow” simultaneously presents celadon from an archeological perspective and a contemporary aesthetic perspective. The accumulated study of ancient celadon by international experts has been fruitful. However, the extent of study of contemporary celadon is unknown. Is celadon defined by its value as an antique? Will the celadon work of contemporary ceramicists ever receive accolades? How can contemporary ceramists resist losing their own direction in the undertow of history’s stream?

This is the heart of the matter!
This exhibition, “Ambient Green Flow” presents the audience and ceramic artist with this question to contemplate: Where should the appreciation of ancient ceramics lead us next?
Herein holds the meaning and significance of this exhibition.