Unearthing Tradition: A Hands-On Guide to Pottery Making in Korea

 Delve into Korea's rich ceramic heritage with a hands-on pottery class. Discover ancient techniques, create your own unique piece, and connect with the country's profound artistic tradition.

Table of Contents

• The Enduring Legacy of Korean Ceramics: History and Spirit
• A Journey to Icheon: Korea's Ceramic Art Hub
• Understanding the Clay: Key Types of Korean Pottery
• Choosing Your Experience: Hand-Building vs. Wheel Throwing
• One-Day Classes vs. Multi-Session Workshops: What to Expect
• The Process Unveiled: From Clay Ball to Fired Masterpiece
• Experiencing Onggi: The Traditional Korean Fermentation Ware
• Therapeutic Benefits: How Pottery Alleviates Stress and Boosts Mindfulness
• Practical Tips for Foreign Visitors: Language, Logistics, and Shipping
• Beyond the Workshop: Festivals and Museums for Ceramic Enthusiasts

The Enduring Legacy of Korean Ceramics: History and Spirit

Korean ceramics possess a history that stretches back millennia, with earthenware production dating as far back as 10,000 years during the Neolithic Jeulmun Pottery Period. This deep, continuous tradition is not merely one of craftsmanship but also of philosophical and cultural expression, evolving through numerous dynasties to produce distinct styles recognized globally for their understated elegance and unique forms. The ceramic history serves as a vital timeline of the peninsula’s aesthetic sensibilities and technological advancements.

The Goryeo Dynasty (918–1392) is perhaps most famous for the perfection of Goryeo Cheongja (celadon), known for its exquisite jade-green glaze, or bisaek, and the groundbreaking sanggam (inlay) technique. This technique involved carving designs into the clay, filling them with white and black slips, and then glazing and firing the piece, resulting in a luminous, highly detailed effect that was entirely original to Korea. The prestige of Goryeo celadon was immense, sought after by the royalty and aristocracy, and it established a benchmark for ceramic beauty that is still revered today. The unique character of Goryeo celadon—a blend of technical mastery and refined taste—demonstrates the high culture of the period.

Following Goryeo, the Joseon Dynasty (1392–1897) saw a shift in aesthetic focus, aligning with the state’s dominant Confucian ideology. This era championed Baekja (white porcelain) and Buncheong Sagi (often shortened to Buncheong). White porcelain, in its purest, undecorated form, symbolized the Confucian values of purity, simplicity, and frugality, becoming the primary ware for the royal court and scholar-officials. Its austere beauty and flawless surface represented a high ideal of refined taste.

Buncheong, on the other hand, was a more robust, earthy stoneware often favored by the common people. It features bold, free-spirited decorations using white slip, applied through techniques like stamping, carving, and brushwork (hakeme). This style is celebrated for its natural, unpretentious beauty and dynamic, often abstract, decorative patterns, standing in contrast to the refined celadon. Experiencing pottery in Korea is thus an opportunity to connect with these layered historical aesthetics, appreciating how material culture reflects socio-political and spiritual changes over time.

A Journey to Icheon: Korea's Ceramic Art Hub

While pottery studios can be found in virtually every major city across Korea, from Seoul to Busan, no discussion of Korean ceramics is complete without highlighting Icheon City in Gyeonggi-do. Icheon is unequivocally recognized as the heart of modern Korean ceramic culture and a must-visit destination for anyone serious about the craft. Its status as a ceramic hub is not coincidental; the area has historically been rich in the raw materials essential for high-quality pottery, including kaolin and feldspar, and possessed ample firewood for the traditional kiln firing process. This combination of resources and historical tradition has led to Icheon being designated a UNESCO City of Crafts and Folk Art.

The concentration of ceramic production became particularly significant after the Korean War, as potters from across the country converged there to revitalize the tradition using time-honored techniques and materials. The most prominent destination within Icheon is Ye’s Park (Icheon Ceramic Art Village), a sprawling complex that houses over 300 artisan studios, galleries, and specialized workshops. Unlike a single museum, Ye's Park is a living, breathing village where master potters (many of whom are designated as Important Intangible Cultural Heritage holders) practice their trade daily. It provides an immersive environment where visitors can walk between studios, observe artists at work, purchase direct from the creators, and, most importantly for the enthusiast, participate in hands-on experiences.

At Ye's Park, you can find various workshops offering one-day classes, ranging from simple hand-painting on pre-fired bisque to full wheel-throwing sessions. For visitors, the accessibility to different techniques and styles in one location is a major draw. Many studios are accustomed to international visitors, offering guidance in English or through translation apps. Furthermore, Icheon hosts the Icheon Ceramic Festival annually, typically in the spring, which is a magnificent showcase of Korean ceramics, featuring exhibitions, competitions, and many more opportunities for hands-on participation. A trip to Icheon, easily accessible from Seoul, is a pilgrimage that offers both a deep dive into Korea’s artistic history and a tangible, hands-on experience of its present ceramic vitality.

Understanding the Clay: Key Types of Korean Pottery

To truly appreciate the hands-on experience, it helps to understand the foundational ceramic types that define Korea’s artistic identity. The clay body, glaze, and firing process work in concert to create four major categories: Celadon (Cheongja), White Porcelain (Baekja), Buncheong Ware (Buncheong Sagi), and Onggi. Each represents a distinct period and aesthetic ideal, influencing contemporary potters and informing the styles you will encounter in workshops.

Goryeo Celadon (Cheongja): As discussed, this ware is characterized by its signature pale green-blue glaze, often referred to as the "kingfisher color" (bisaek). The technical mastery involved in achieving this color and the intricate sanggam inlay technique set it apart. In classes, you may not be able to replicate the exact Goryeo firing conditions, but many studios offer celadon-like glazes or teach the delicate inlay/carving methods on smaller pieces, allowing for an appreciation of the meticulous craftsmanship involved. Learning to carve the slip-filled design is a satisfying challenge that requires patience and precision.

Joseon White Porcelain (Baekja): This ware is known for its pure, often undecorated white body, reflecting Confucian austerity. However, it also includes pieces decorated with underglaze blue (cheonghwa baekja) or underglaze iron-brown/copper-red. The simple, elegant shapes, like the iconic Moon Jar, emphasize the beauty of the material itself. Many modern workshops encourage a clean, minimalistic aesthetic inspired by Baekja, where the form and the quality of the glaze are the primary focus. Creating a piece of white porcelain teaches a valuable lesson in simplicity and form.

Buncheong Ware (Buncheong Sagi): Emerging at the end of the Goryeo and flourishing in the early Joseon period, Buncheong is stoneware coated with a white slip and often decorated in a spontaneous, robust style. Techniques include sgraffito (cutting through the slip to the clay body), stamping (inhwa), and iron-oxide painting. Its folk-art aesthetic and dynamic patterns provide a great outlet for creative, less-formal expression. For beginners, the expressive nature of Buncheong techniques, such as applying slip with a rough brush (hakeme), is a wonderful way to experiment with texture and boldness.

Onggi: This is a traditional, utilitarian dark-brown earthenware used primarily for fermentation and storage of Korean staples like Kimchi, Gochujang (chili paste), and Doenjang (soybean paste). Onggi is celebrated for its porosity, which allows the contents to "breathe" while keeping pests out—a crucial feature for fermented foods. The method of building these large jars involves coiling, paddling, and using specialized tools, often on a massive scale. While not a beginner-level class, some specialized workshops offer small-scale Onggi-making experiences, providing insight into its unique, practical role in Korean culinary culture.

Choosing Your Experience: Hand-Building vs. Wheel Throwing

When selecting a pottery class in Korea, the first major decision you'll face is the technique: hand-building or wheel throwing. Both offer unique rewards and cater to different levels of skill and desired outcomes, and it's essential to understand the distinction to maximize your enjoyment and learning.

Hand-Building (수작업, Sujak-eop): This method involves creating a ceramic piece entirely by hand, without the use of a potter’s wheel. Techniques include pinching, coiling (rolling clay into ropes and stacking them), and slab construction (rolling out flat sheets of clay). Hand-building is generally recommended for absolute beginners, family groups, or those looking for a more relaxed, intuitive, and less technically demanding experience. It offers immense freedom in form and shape, allowing you to create asymmetric, organic, or sculptural pieces easily. In a typical Korean one-day class focused on hand-building, you might create a small plate, a simple mug, or a distinctive trinket dish. The process allows for focused attention on texture and surface decoration, such as carving, stamping, or adding attachments. It’s a wonderfully grounding experience, focusing your attention entirely on the feel and malleability of the clay in your hands. This form of pottery directly connects to the most ancient traditions of the craft, before the invention of the wheel.

Wheel Throwing (물레, Mulle): This technique uses a rotating potter's wheel to center a lump of clay and then shape it into perfectly symmetrical, round forms like bowls, cups, and vases. Wheel throwing requires a steeper learning curve than hand-building; centering the clay is an art in itself, demanding coordination, controlled pressure, and focused attention. Despite the initial challenge, the sheer exhilaration of watching a piece rise from a lump of clay on the wheel is unmatched, making it a highly rewarding activity. Many one-day wheel-throwing classes focus on creating a simple bowl or cup, with the instructor providing significant hands-on assistance to guide the centering and pulling process. For those looking for a more in-depth experience, multi-session courses are often required to truly master the fundamentals. Choosing a wheel-throwing class offers a direct connection to the skilled techniques of master potters and is perfect for those seeking a meditative yet challenging creative process that results in traditional, functional forms.

One-Day Classes vs. Multi-Session Workshops: What to Expect

The Korean pottery experience is highly flexible, catering to tourists, casual hobbyists, and serious learners alike. Your choice between a one-day class and a multi-session workshop will largely depend on your travel schedule, depth of interest, and desired commitment to the craft. Understanding the practical logistics and learning outcomes for each is crucial before booking.

One-Day Classes (원데이 클래스, Won-dei Keullaeseu): These are the most popular option for international visitors and casual tourists. Typically lasting between one and three hours, these classes are designed for immediate gratification and a taste of the experience. They generally focus on a single, achievable project, such as hand-building a small dish, decorating a pre-made piece (glazing or painting on bisque ware), or a guided, assisted wheel-throwing session. The primary goal is cultural immersion, relaxation, and fun. A key logistical note is that the piece you make cannot be fired and glazed on the same day. The process requires extensive drying time (weeks) and two separate firings (the bisque firing and the final glaze firing). Therefore, if you are a tourist, your finished piece will need to be shipped to your home address, usually at an additional cost, or you may receive a pre-made piece as a token, while your creation is passed on to a future student (a common practice in some Seoul studios). Make sure to clarify shipping costs, customs regulations, and the estimated delivery time—which can be anywhere from 4 to 8 weeks—before you leave the studio. Some studios offer a painting-on-bisque experience, which results in a finished piece much sooner, sometimes even within a day or two, but this bypasses the raw shaping process.

Multi-Session Workshops (취미반, Chwimiban - Hobby Classes): For residents, long-term visitors, or those wishing to truly develop a skill, the multi-session workshop is the ideal format. These hobby classes often run for several weeks, meeting once or twice a week for a fixed duration. They provide a comprehensive education in the full ceramic process, allowing students to learn the crucial steps of centering, throwing, trimming (shaving the base of a piece after it has partially dried), and glazing their pieces independently. This format provides the time necessary to practice and repeat techniques, which is essential for developing muscle memory and proficiency on the potter's wheel. Furthermore, a hobby class will allow you to learn more advanced techniques such as carving, making handles, and understanding different types of clay bodies and glazes. You will typically be able to pick up your own fully finished pieces upon the completion of the course, or soon after the final firing. This commitment offers a deeper connection to the craft and a more authentic outcome.

The Process Unveiled: From Clay Ball to Fired Masterpiece

The journey of a piece of pottery, from a simple lump of clay to a durable, glazed object, is a multi-stage process involving precise steps, time, and heat—an alchemical transformation that links the potter to the elements of earth and fire. Understanding this process enhances the appreciation for the final object and the time investment required for any hands-on class.

1. Preparation (Wedging and Kneading): The process begins with 'wedging' the clay, which is similar to kneading dough. This critical step serves two purposes: removing air bubbles that could cause the piece to explode in the kiln and aligning the clay particles to ensure an even consistency. A well-wedged clay body is essential for success, especially on the wheel. Many workshops provide pre-wedged clay to save time for beginners.

2. Forming (Throwing or Hand-Building): This is the creative stage where the piece takes shape. If wheel throwing, the clay must be 'centered' on the wheel head—a foundational, challenging step requiring focus and strength—before being 'pulled' up and shaped. If hand-building, the methods of pinching, coiling, or slab construction are employed. Attention to the thickness of the walls and the evenness of the form is vital for preventing cracking later.

3. Drying (Leather-Hard and Bone-Dry): After shaping, the piece must dry slowly. It first reaches the 'leather-hard' stage, where it is firm enough to be handled and trimmed (the process of shaving excess clay from the bottom), handles can be attached, or intricate carving can be done. It then continues to dry to the 'bone-dry' stage. This takes several days to weeks, depending on humidity and size. At this stage, the piece is extremely fragile.

4. Bisque Firing: The bone-dry piece is fired for the first time in a kiln at a lower temperature (around 900–1000°C). This process, known as bisque firing, hardens the clay, removes all chemical water, and turns the piece into 'bisque ware.' The piece is now porous, which is necessary for the next step.

5. Glazing: The bisque ware is dipped, poured, or brushed with a liquid glaze—a mixture of minerals, silica, and flux. The glaze, which looks like a muddy liquid, will vitrify (turn into glass) during the final firing, giving the piece its color, texture, and non-porous finish. This stage requires skill in choosing and applying the correct thickness of glaze.

6. Glaze Firing (Final Firing): The glazed piece is fired again, this time at a much higher temperature (for stoneware and porcelain, typically 1200–1300°C). This heat vitrifies the clay body, making it strong and permanent, and melts the glaze into a smooth, glassy coating. The specific atmosphere of the kiln—oxidation or reduction (a lower-oxygen environment)—can dramatically affect the final color and appearance, especially in traditional Korean glazes like celadon. The piece is then slowly cooled before it can be removed, completing the magical transformation.

Experiencing Onggi: The Traditional Korean Fermentation Ware

While the refined beauty of Celadon and White Porcelain often capture international attention, a far more utilitarian and culturally vital form of Korean ceramics is Onggi (옹기). These large, dark-brown earthenware jars are ubiquitous across the Korean countryside and are a cornerstone of traditional Korean food culture, embodying a deep connection between craft, nature, and gastronomy. Understanding Onggi is to understand the history of Korean fermentation.

Onggi jars are traditionally used to store and ferment essential Korean condiments and foods, collectively known as jang (장) or fermented pastes, including Gochujang (chili paste), Doenjang (soybean paste), and Ganjang (soy sauce), as well as Kimchi. What makes Onggi unique is its construction and firing process, which results in a porous vessel. The clay body is mixed with a fine sand, and the glaze, often made from wood ash, is only partially vitrified. This creates a vessel that is non-leaking but still allows for air exchange, enabling the contents to "breathe" during the long fermentation process. This micro-porosity is essential for developing the complex flavors and maintaining the health benefits of fermented foods, a technique that has been passed down through generations of dedicated Onggi masters.

The scale and technique of making Onggi are also distinct. Unlike the more delicate Goryeo or Joseon wares, Onggi involves massive amounts of clay and is often built using a labor-intensive coiling method rather than a small potter's wheel. The large, heavy forms are paddled into shape, a technique requiring considerable strength and skill. Due to its specialized nature, Onggi making is a less common offering in casual one-day classes, but highly specialized workshops, often located in traditional Onggi villages or dedicated studios near major ceramic centers like Icheon or traditional villages near Busan (Onggi Village), do offer immersive experiences. These classes, even in a scaled-down form, provide an intimate look at the enduring tradition of Korean folk pottery. Participating in an Onggi workshop is a profound experience that connects the participant directly to the functional artistry underpinning Korean cuisine and the wisdom of past centuries.

Therapeutic Benefits: How Pottery Alleviates Stress and Boosts Mindfulness

Beyond the artistic and cultural value, engaging in pottery making offers significant therapeutic benefits, making it an increasingly popular activity for stress reduction and mental well-being across the globe, including Korea. This hands-on, tactile craft is a powerful antidote to the demands of modern, fast-paced life, offering a unique avenue for mindfulness and self-expression. Many studios in bustling cities like Seoul explicitly market their classes as a form of 'healing' or 'mindfulness' activity.

The act of working with clay is inherently grounding. The tactile sensation of the cool, damp material in your hands engages the senses in a way that is immediately diverting from abstract worries. When centering clay on the potter's wheel, for instance, a great degree of focus is required; if the mind wanders, the clay will likely lose its center and collapse. This forced concentration serves as an active form of meditation, anchoring the individual to the present moment and effectively reducing cortisol levels—the hormone associated with stress. Psychologists and art therapists often recommend ceramics as a creative outlet that encourages non-verbal communication, allowing individuals to process emotions or internal states through form and texture rather than language.

Furthermore, pottery provides a tangible sense of accomplishment. The entire process—from shaping the raw clay to holding the final, fired object—is a complete cycle of creation. This tangible outcome fosters self-esteem and pride, providing a physical, lasting representation of one's efforts and creative capabilities. For those dealing with anxiety, the slow, methodical pace of pottery, from wedging to drying to firing, also teaches patience and acceptance of imperfections; a piece may crack or a glaze may not turn out as expected, providing a gentle lesson in letting go of absolute control. The physical movements, such as the rhythmic kneading or the controlled pressure on the wheel, can also be a healthy form of tension release. In a society grappling with digital overload, the physical, messy, and creative nature of pottery offers a much-needed return to the fundamental, connecting mind and body through the oldest of crafts.

Practical Tips for Foreign Visitors: Language, Logistics, and Shipping

Embarking on a pottery experience in Korea is exciting, but international visitors should be aware of a few key logistical details to ensure a smooth and rewarding process, particularly regarding language barriers and the delivery of their finished piece.

Language and Communication: While many pottery studios, especially those in major tourist areas like Insadong or Gangnam in Seoul, may have staff who speak basic English, it is not guaranteed outside of those areas, particularly in Icheon or smaller towns. It is highly advisable to book your class in advance through platforms that cater to foreign tourists (such as those associated with Visit Korea or major tour operators) as they vet studios with English-speaking or translation-ready instructors. Alternatively, utilizing a real-time translation app on your phone can bridge communication gaps, especially for technical instructions. Be prepared to rely on visual demonstration, as pottery is a craft best learned by watching and doing.

Booking and Costs: Most one-day classes range from 30,000 KRW to 70,000 KRW per person, depending on the complexity (hand-building is usually cheaper than wheel-throwing) and the studio’s location. This fee typically covers the clay, instruction, and the initial bisque firing. Always inquire upfront what is included. Many studios require a deposit or full payment upon booking, especially for popular weekend slots. Clarify if the glaze firing is included or an additional charge.

Shipping and Collection: This is the most crucial logistical point for short-term visitors. Since your piece must dry for weeks and undergo two high-temperature firings, you cannot take it with you immediately. You have three options:

1. International Shipping: The most common choice. The studio will glaze and fire your piece and then ship it to your home address. This involves an extra cost (which can be substantial, often 30,000 KRW or more, plus customs declaration) and a significant waiting period, typically 4 to 8 weeks, but sometimes longer. Ensure the studio is experienced with international packaging to prevent breakage. Get a tracking number if possible.
2. Domestic Collection by a Friend: If you have friends in Korea, they can collect the finished piece after a few weeks and ship it to you later or keep it for your next visit.
3. Receiving a Pre-made/Collaborative Piece: As mentioned, some studios offer a structure where you shape a piece that will be gifted to a future visitor, and you receive a fully-finished piece made by a previous visitor or the instructor on the spot. This guarantees you leave with a souvenir but not your own fired creation.

Ensure you get a receipt, a picture of your work, and clear contact information for follow-up.

Beyond the Workshop: Festivals and Museums for Ceramic Enthusiasts

For those whose hands-on experience has sparked a deeper interest in Korean ceramics, the country offers numerous opportunities to explore the art form's breadth, history, and contemporary evolution through festivals and museums. These venues provide the essential context to fully appreciate the tradition you’ve just participated in.

The Icheon Ceramic Festival: Held annually, typically in the spring (April/May) at Icheon's Ye's Park, this is arguably the single most important event for Korean ceramics. The festival is a massive, multi-week celebration featuring exhibitions of works by master potters, international ceramic collaborations, live demonstrations of traditional firing techniques (including climbing kilns), a vibrant marketplace to purchase pieces directly from the artists, and, of course, a wide variety of hands-on experience programs. It transforms the ceramic village into a dynamic cultural hub and is an unmissable event for any serious enthusiast.

The Gyeonggi Museum of Ceramic Art (Gyeonggi-do, near Icheon): This museum offers a comprehensive, scholarly view of Korea’s ceramic history, from its earliest forms to modern works. It is strategically located near Icheon to serve as the region's main educational resource, housing an impressive collection of Goryeo celadon and Joseon white porcelain, alongside contemporary pieces. The museum not only showcases finished works but also often includes exhibitions on the technology of pottery, such as kiln design and glaze chemistry.

The National Museum of Korea (Seoul): The National Museum houses a permanent, world-class collection of Korean art, with a dedicated gallery for ceramics and metalwork. Here, you can view some of the most historically significant pieces of Goryeo Celadon and Joseon White Porcelain, allowing you to see the true masterpieces of the craft. Seeing the immaculate inlaid celadon or the pure, massive Joseon Moon Jars in person provides an incomparable reference point for understanding the art form’s historical peak. This is an excellent place to visit before or after your workshop to ground your personal experience in historical context.

The Ceramic Art Center (Gangjin-gun, Jeollanam-do): Gangjin was one of the two most important centers for Goryeo celadon production. While further afield, a visit to the Gangjin Celadon Museum and its surrounding kiln sites offers a unique archeological perspective. The area is dotted with historical kiln sites, and the museum provides an in-depth look at the local techniques and the incredible volume of celadon produced there during the Goryeo Dynasty. This location offers a connection to the very earth where Korea's most famous ceramics were perfected.

What is the difference between Goryeo Celadon and Joseon White Porcelain?

Goryeo Celadon (Cheongja) is famous for its distinct, beautiful jade-green glaze (bisaek) and often features the highly refined sanggam (inlay) technique. It was produced during the Goryeo Dynasty (918–1392) and favored by the aristocracy. Joseon White Porcelain (Baekja) emerged during the Joseon Dynasty (1392–1897) and is characterized by its pure white body and glaze, symbolizing Confucian ideals of simplicity and purity.

Where is the best place in Korea to take a pottery class?

For the most diverse and authentic experience, Icheon City in Gyeonggi-do (particularly Ye's Park) is the best choice, as it is the center of Korean ceramic production with hundreds of master studios. For convenience, many high-quality one-day classes are also available in popular districts of Seoul like Insadong and Gangnam.

Can I take my finished pottery home immediately after a one-day class?

No, pottery requires extensive drying time (weeks) and two separate high-temperature firings (bisque and glaze firing). For short-term visitors, the finished piece must typically be shipped internationally at an extra cost, taking 4 to 8 weeks for delivery.

What are the two main techniques taught in Korean pottery workshops?

The two main techniques are Hand-Building (Sujak-eop), which uses coiling, pinching, or slab construction without a wheel and is easier for beginners, and Wheel Throwing (Mulle), which uses a rotating wheel to create symmetrical forms and is more challenging.

What is Onggi and why is it important in Korea?

Onggi is traditional Korean utilitarian earthenware, characterized by its large size and dark-brown, partially-vitrified glaze. It is vital for Korean food culture as its porous nature allows essential fermented foods like Kimchi and Jang (pastes) to "breathe" during the fermentation process.

How much does a one-day pottery class typically cost?

A typical one-day class ranges from 30,000 KRW to 70,000 KRW (approximately $25–$55 USD), but this usually does not include the cost of international shipping for the finished piece, which is a separate and significant expense.

What is the Buncheong style of pottery?

Buncheong is a type of stoneware from the Joseon Dynasty known for its coating of white slip and bold, unpretentious decoration using techniques like stamping, carving, or expressive brushwork (hakeme). It has a folk-art aesthetic, contrasting with the refined nature of celadon.

What should I clarify with the studio before booking a class as a tourist?

You should clarify the total cost, whether the instructor speaks English, if the shipping service is available, the shipping cost and expected delivery time (in weeks/months), and whether you will be making a piece to ship or receiving a collaborative piece to take immediately.

What are the psychological benefits of making pottery?

Pottery making is highly therapeutic; it reduces stress by lowering cortisol levels, promotes mindfulness by forcing focus on the present moment, serves as a non-verbal outlet for self-expression, and boosts self-esteem through the tangible result of creation.

Besides Icheon, what is another significant place to see Korean ceramics?

The National Museum of Korea in Seoul is essential for viewing the most important historical masterpieces of Goryeo Celadon and Joseon White Porcelain. Another key location is the Gangjin Celadon Museum in Jeollanam-do, one of the main historical centers of celadon production.