Due to today's highly developed material civilization, the dignity of human soul has been impaired by the logic of science and the loss of humanity has reached its extremity. Even the production of life itself is stopped by scientific logic.
The present study was attempted from the position that denies dry craftworks deprived of humanity by the rampancy of mechanical civilization.
In this study, ceramic works were created with all scientific elements removed.
We extracted aesthetic elements from classical china bowls from the Koryo Dynasty and the early Chosun Dynasty, and created ceramic works only by hand, removing the spinning wheel, the molding tool, and reflecting the aesthetic sense observed in the classical works.
In addition, efforts were made to give life as in plastic arts through sympathy with clay rather than using centrifugal force.
The surface of vessels was also decorated by making simplified abstract patterns in an instant using a wooden knife.
It took a lot of time and labor to create by kneading and shaping only with the hand.
However, we believe that, only through handwork, the texture of clay can give the delight of creative mentality in rapport with soul.
In works created by the surface technique, we can feel the naturalness and life of forme.
Although this technique is applied limitedly to teaware, it may be forgivable to confess that, compared to mechanical work, the surface technique was a world of free creation resembling the expression of abstract art out of unconsciousness.
Mass production was difficult, but we took note of the cubic effect and weight of glaze attained by preserving the texture of clay through molding by hand and applying liquid glaze and mat oil and repeated firing.
Furthermore, this technique was appropriate for expressing the outer shape full of life.
Moreover, the effect of glazing for emphasizing a plain and neat feeling was utilized in creating teaware of different images.