Visiting Icheon, Korea’s ceramic arts capital
Tucked away in Gyeonggi Province’s southeastern corner (about a 90-minute drive from Seoul) is the city of Icheon. It had been the center of the royal household’s potters for centuries. The famed kilns of Icheon were in their golden era during the 1392-1910 Joseon Kingdom. Still, the abundance of the right kind of clay, plenty of pine trees to fuel the kilns and the right climate for the best results were much sought after earlier during the 918-1392 Goryeo Kingdom and perhaps even earlier.
Icheon is also the home of most of Korea’s pottery “master hands.” Here, they have plied their craft for generations, with sons and daughters learning from their parents. Students accepted by master craftspeople spend years in apprenticeship. Finally, when one’s peers, all masters, approve, the government awards the “master hand” rank. Most recipients have been working in the trade for more than 50 years.
Royal Asiatic Society Korea has traveled to Icheon with small groups since at least the late 1960s. In years past, the town was inaccessible to most people. It was located far off the highways and was not geared for tourism. Once a year, a busload of interested people would travel there with a RAS docent who had made personal relationships with some of the artisans. Always welcoming and accommodating, they received RAS groups with open arms.
My first trip to this intriguing place was in the mid-1990s on an RAS tour with the ineffable Ms. Sue J. Bae. Sue was an incredible guide. She knew all the masters. Sue knew the best places to find quality ceramic art as well as places to find practical products. She also chose a great place for lunch that day. Since then, I’ve taken dozens of friends for visits. I’ve also guided several RAS groups.
When my grandson visited last summer, he enjoyed learning to “throw a pot” on the wheel and then paint his custom design. He proudly shared the finished product with family and friends when he got it. He announced that the next time he visits Korea, he wants to return and make another matching pot.
On the Korean Peninsula, examples of ceramicware have been found dating back to at least the Neolithic era. Stoneware was being mass-produced during the Three Kingdoms era.
Ceramic arts reached a high point during Goryeo. The gorgeous bluegreen celadon-ware was produced then and highly prized throughout the region. The craft reached a zenith then, with many delicate and intricate pieces still preserved in museums.
Just as no era in geopolitics remains unchanged, so, too, Korean ceramic artisanship. By early Joseon, artists produced a heavier stoneware called buncheong. Still elaborate in its artistic decoration, Buncheong became highly prized by Japanese collectors, for example. That style is still used in Japan for tea service.
During the devastation of the Imjin War in the 1590s, Korean ceramic works screeched to a halt as artisans were either killed or taken hostage by Japan. The hostages were forced to share their trade with Japanese potters. With so many artisans gone, Korea’s ceramicware quality and production entered a steep decline. Eventually, a minor resurgence was fueled by the new baekja style (white porcelain), which Korean artists developed into fine art.
As the economy faltered, the Japanese empire moved in. The Korean Peninsula was ripe for picking. Once again, as during the Imjin War, craftspeople were abducted to the Japanese mainland, and Korea’s ceramic arts all but disappeared.
When I first came to Korea in the mid-1970s, one could find cheap reproductions of some of the most exquisite examples of Korea’s ceramic past. Most of the shops selling these souvenir items were centered near U.S. military posts, catering to the huge population of service people who had become enthralled with the beauty of Korea. As a young man with little extra money, I found it great to buy some of this art, even though it was of poor quality. The graceful styles and beautiful and varied decorations of ceramicware enamored me. As Korea’s economy began gathering steam and entered the world stage with the 1986 Asian Games and the 1988 Olympics, renewed interest in the ceramic arts began to grow. Icheon and the surrounding areas (Gwangju and Yeoju) were again in focus due to the rich clay deposits with their varied mineral content. Modern artisans joined heritage potters, and Koreans and tourists began flocking to the region to buy top-quality art for their homes. There are now about 300 artisans working in Icheon, with about 40 traditional kilns still in operation.
As the industry rejuvenated, the “master hand” designation became important as a recognition for those ceramic artists who had achieved the highest levels of the craft. This peer-recommended recognition, granted by the national government, is highly prized.
Two good friends of RAS Korea are Master Kim Seyong and Master Seo Gwangsu.
Master Kim’s studio and exhibition halls are a must-visit for anyone traveling to Icheon. Kim developed a unique artistic style of ceramicware that is double-walled and then hand-carved into some spectacular designs.
Master Seo produces traditional pieces of baekja, among other pottery forms. He began his apprenticeship at age 14 and is still going strong. He has several disciples working with him, so the succession of his craft is assured.
Both masters are in their late 70s and have worked in their trade for over 60 years. They are among the senior-most “master hand” designees, having received their elevations about 20 years ago.
RAS Korea will travel to Icheon on Saturday, April 6, leaving from the Seoul Sports Complex Station on Seoul Metro lines 2 and 9. Space is limited, so register and pay well in advance by going to raskb.com. I hope to have you join me on the excursion.