Kim Se-yong (ceramist)

This article is about South Korean ceramist. For South Korean singer-songwriter, see Kim Se-yong.
Master
Kim Se-yong
Born1946 (age 77–78)
NationalitySouth Korean
Notable workOpenwork ceramics
StyleCeladon
SpouseLee Soon-i
Children2
AwardsKorean Master Craftsman for Ceramics
Websitewww.kceramicmaster.com

Kim Se-yong (Korean:김세용, Hanja:世昌 金世龍; born 1946) is a South Korean ceramist and C.E.O of Sechang Artistic Ceramic Institute.[1] He is known for his celadon style on ceramics based upon the traditional Goryeo wares. Kim was a former Professor of Ceramic Art at Chungkang College of Cultural Industries,[2] and currently resides and works in Icheon, South Korea.

Biography[edit]

Master Kim studied civil engineering at Gyeonggi Technical High School.[3] He became interested in ceramics during a school field trip to the National Museum of Korea.[4]

In 1966, Master Kim began working at a pottery in Icheon. At that time, Icheon had about 100 potters working in 7 to 8 potteries.[5] Since the city did not yet have electricity or natural gas, Master Kim's initial training as a ceramist employed skills and techniques that had changed little since ancient times. The pottery he joined specialized in Goryeo ware celadon.[6]

Within a year of starting work in Icheon, he became head of the pottery sculpture room.[6]

Master Kim's was called into service for South Korea during the Vietnam war. He returned to Icheon in 1972 joining a pottery owned by Shin Sang-ho.[4] He also trained under celadon ceramist and kiln owner Namgok Ko Seung-su (b. 1913).[7]

In 1978, he became independent, and built his own kiln.[5] In 1979, he established the Sechang Ceramic Research Institute.[8] It was an auspicious time. The years from the late 1970's through mid 1990's were one of the peak periods of celadon production owing to an influx of wealthy Japanese tourists who bought souvenirs in Icheon's and Seoul's pottery shops.[9] Many of Master Kim's contemporary ceramists, including Shin, were also holding exhibitions of their wares within Japan in places like the Mitsukoshi Department Store.[10][11]

Unfortunately, this was the same period Master Kim devoted himself to experimentation. He tested different mixtures of clay and glaze, tried new techniques, and created new styles. "If one of the 12 ingredients in the glaze is wrong, the color will not come out. We experimented hundreds of times to create a glaze with a clear jade color."[12] He was the first artist in Korea to convert a wood fired kiln from mudbricks to refractory bricks.[4] His quest required him to endure years of failed experiments.[13] His initial success rate at producing openwork pieces that met his personal standards was low. During this rather prosperous time for other ceramists, he sold few works and landed himself deeply in debt.[6]

It wasn't until the late 1990's and early 2000's that his artistic efforts began to bare fruit and he started to receive recognition. In 1997 he received a gold medal in 1997 at Korea's national ceramics contest.[14] In 1999, a vase made by Master Kim was selected for presentation to Queen Elizabeth II during her 1999 State visit to South Korea.[15] Also in 1999 he became a full-time guest lecturer at Chungkang College of Cultural Industries.

In 2002 he was designated the 349th Korean Master Craftsman by the government of South Korea.[16] and the first master to be designated for celadon ceramics.[17]

In 2006, Master Kim held a solo exhibition titled "From Earth to Light”. He considers it to be the turning point in his life where he went from being a "major" to a "master".[18] It was held at the World Ceramic Expo Foundation's Icheon World Ceramic Center and began with a banquet in his honor.[19]

However, this period of personal successes coincided with the 1997 Asian financial crisis and Japan's lost decades.[20] Tourism and the market within Korea for traditional wares dropped significantly.[21] As a consequence, Master Kim stored many of his works hoping the market would improve.

After tourism rebounded and foot traffic into his studio in Icheon returned, Master Kim continued to find it difficult to find buyers for his works. His works had become so detailed that he sometimes spent a month creating one piece.[5] Tourists now had far more choices of less expensive works produced by professional ceramists that had adopted electric pug-mills to prepare the clay, electric pottery wheels, and gas or electric kilns.[22] Some ceramists started copying Master Kim's signature piece, an openwork vase featuring rows of chrysanthemums, taking short cuts that included applying molded flowers stuck on with slip.[23] Even students trained by Master Kim, like Kim Young-soo of Do-seong, began exhibiting their own wares in Icheon.[24]

In the 2010's, the Kim family began an information campaign to promote the value of cultural heritage. Efforts included a website produced by Master Kim's son, Kim Dohun,[25] and series of YouTube videos (see external links).

In 2015 Master Kim was awarded as being Korea's Master of the year.[26]

In 2017 he received the Order of Cultural Merit of the Republic of Korea.[26]

In 2019, in an apparent effort to bring major works directly to potential buyers, the Kim family made arrangements with the Korean Cultural Center of Los Angeles to stage an exhibition. They selected 80 of Master Kim's largest and most elaborate works and then carefully packed and shipped them to California. This was all at the family's expense. Unfortunately, timing was not favorable. The works arrived just before the Covid-19 lockdowns began,[27] and had to go into storage at the family's expense. The Story of A Thousand Year exhibition finally opened in Los Angeles in April 2023.[28] Approximately 50 of the works then traveled to the Korean Cultural Center in New York for an exhibition held in August 2023.[29]

In 2024 many of the works from the New York exhibition were placed on sale Kate Oh Gallery[30] in New York City.[31] However, as is typical for art galleries, pricing of Master Kim's works was not publicized.[32]

As of 2023 he has received 22 awards, including the Garland Medal of the Order of Cultural Merit[33] and participated in more than 110 exhibitions in South Korea and around the world.[13]

Style[edit]

Master Kim's works are inspired by ancient celadon wares produced during the Goryeo period (918-1392). However, rather than simply replicating historical patterns, he adopted the Korean philosophy known by the four-character idiom "Beop Go Chang Sin" (법고창신 法古創新).[6][34] This philosophy was preached by 18th century philosopher Park Ji-won. It means to create something new that has been derived from the old.[35] According to Master Kim, "When you learn pottery, you first imitate the works of your ancestors and then gradually approach your own pottery."[36] If you get the feeling pottery is either Goryeo or Joseon period, "It means it has no vitality."[37]

Owing to Master Kim's initial reproductions of Goreyo era celadons, his early career path was similar to many contemporary ceramists like Yu Geun-hyeong. However, whereas most of his contemporaries stuck to reproducing historical Goreyo wares their entire careers, Master Kim pioneered new production methods and his own style. Master Kim's career path was closer to contemporary Shin Sang-ho who also turned away from traditional Goreyo wares to develop his own style. However, unlike Shin, who transitioned to reproducing Joseon era buncheong wares and then African themed non-celadon wares,[38] Master Kim's innovations held to two self-imposed rules:

  • to utilize only celadon glaze; and
  • to work according to traditional production methods only.[39]

Today, despite the arrival of electricity and modern machinery long ago, Master Kim still produces pottery through a laborious, manual process. After digging and sieving the clay, he allows it to age for up to 5 years.[40] It is then kneaded by hand and foot[17] the same way it has been done for centuries, before placing it on a traditional potter's kick-wheel. Master Kim claims, "Using feet allows finer and subtler control of the detail."[41] After completing decorative steps, he bisque fires his wares in a wood-fired kiln using pine slabs. After the celadon glaze is applied, the work is fired a second time in a reducing atmosphere.[17] Master Kim is known as being particular about the final product. He destroys up to 1/2 of his works even if their flaws are relatively insignificant.[41]

Openwork fragment from the Goryeo period with dull chrysanthemum flowers against celadon background.
Modern openwork vase with vivid white chrysanthemum flowers that drew inspiration from old.

Some of Master Kim's innovations may seem intuitive. For example, some of his works depict the four gracious plants commonly referred to as the Four Gentlemen (Sagunja 사군자). Other of his works focus on just one. Two frequent studies in sanggam (inlaid celadon) are a single branch of a plum tree laden with ume blossoms and an orchid.[42] Typically, the rest of the vase is left plain. The unadorned area has been described by one critic as having a "shining emptiness".[3] This style is very unlike the style adopted by other ceramists that tend to fill in the areas between plants with additional adornments in a style that is closer to horror vacui. Where all the adornment has been left off of a very round celadon work it is resembles a moon jar.[42]

A line of Master Kim's work pioneers combines a technique more commonly associated with buncheong ware. A large area of the work is covered with a slip and then etched away in a style called sgraffito. A frequent theme is a landscape scene featuring a rocky, forested mountain range covered in snow, with traditional buildings that have roofs laden under a heavy snowfall. When using a white slip, he has termed these types of works as being snowscapes and when using a black slip he termed them nightscapes.[43] As with most of Master Kim's innovations, it took years to perfect the technique. "I worked for 11 years to show you Mt. Kumgang, as my father wished, as seen from my hometown."[44]

Of Master Kim's styles, the most recognizable style is his openwork pieces especially his double-openwork and triple-openwork pieces.[17] Double and triple openwork pieces begin with two individually thrown pieces for a double-wall work or three individually pieces for a triple-wall work.[45] After allowing the pieces to air dry and gain strength, the top half of the larger of the piece(s)s is cut open using a technique Master Kim pioneered that minimizes the chances of the piece being damaged while firing.[46] The smaller of the pieces, that helps supports the outer piece(s), is inserted. See external links demonstrating the method. Overall, Master Kim's method permits him to create larger and lighter works than throwing both pieces simultaneously.

Some of Master Kim's openwork is best described as a free form lattice work with no special adornment. He terms this style his "Nude" series. One critic describes it as being "a superlative rendering of technical dexterity, molded matrices of lineal elements charting across the ware's exterior, negative pockets of space in relief."[47]

Whereas, openwork featuring ume blossoms and chrysanthemums are "expressed delicately and precisely by hand and with a knife, one by one, without the slightest error."[36] In the case of his chrysanthemum series, each row of carved flowers grows precisely by 1mm (0.04 inches) or less in size from bottom to the mid-line and then decreases in size a similar amount approaching the top. After completing the carving step, each flower must be adorned with 12 shaped petals and a center (disk floret). This task is to a degree similar to a technique called shiro-chibu found in some modern kutani ware.[48] However, in the case of the Japanese ceramist the raised white dots are all an equal size. In the case of Master Kim, 12 of the applications have to be shaped like petals and orientated at a different angle around the center. Further, each set of petals and centers has to be the appropriate size for the flower depending upon its row. Some of Master Kim's works contain over 1500 individual flowers and nearly 20,000 individual petals and centers.

One of Master Kim's major openwork vases takes as little as a month or as long as a year to complete.[49]

However, even a year isn't the longest time Master Kim committed to completing a single work. In addition to making the most beautiful and finest celadon works, he wanted to produce the largest celadon porcelain work.[50] It took several attempts over a decade before he successfully fired a 107 cm (42 inch) tall celadon vessel weighing 157 kg (350 lbs).[51][13] The richly detailed work features the Korean pattern called Shipjangsaeng (十長生) (10 symbols of longevity).[52][53]

Personal life[edit]

Master Kim met his wife, Lee Sae-dam, at the pottery he first joined where she worked as a potter. She has remained active in ceramics for decades and also become a novelist. The couple's daughter, Kim Hyun-jung majored in philosophy and then began her own line of ceramic wares 2020. Their son, Kim Dohun (1978), obtained a PhD in Ceramics Engineering from Myongji University in Korea and has worked to integrate 3D printing technology with ceramics.[54]

Master Kim is a devote Buddhist who studies the sutras consistently and has not missed a day of Zen meditation. He believes that his faith has helped the perfection of the works created by his hands to gradually improve over the years. Master Kim and his wife made a pilgrimage to Buddhist holy places in India and Tibet, and became friends with foreign monks such as Nechung Kutenra and Tenjin Palmo. The Jabi Zone he built is a place that symbolically shows the Buddhist devotion of him and his wife, Lee Sae-dam.[55]

"When you study celadon, you run into an invisible wall. I thought that in order to overcome that wall, I needed to know the law of Buddha. That thought came to me after experiencing countless failures. Goryeo celadon, which emerged through a Buddhist thought process, was created during the Goryeo Dynasty when Buddhism was the state religion, so wouldn't it be necessary to build a relationship with Buddha in order to pass this process? Since then, my wife and I have been reading the Heart Sutra and chanting the Buddha every day."[18]

Sechang Artistic Ceramic Institute and teachings[edit]

Master Kim founded the Sechang Artistic Ceramic Institute (세창예술도자연구소)[56] in Icheon to disseminating his findings and train future ceramists like Kim Young-soo of Do-seong and Jeong Nakim of Naksan. Master Kim's philosophy contrasts with the philosophy of some ceramists like Japan's Living National Treasure Tokuda Yasokichi. Yasokichi considered his glaze formulations to be a family secret to be passed down generation to generation. It is located at: 214-3, Suha-ri, Shindun-myun, Icheon.

In a YouTube video,[57] Master Kim shares a hard innovative method to cut a sinusoidal line in the larger vessel when forming a double-walled vase to minimizes the chances it will crack when fired. In a different YouTube video[58] he demonstrates how to apply bright white clay to form the individual petals and pistil of each chrysanthemum flower so they contrast and stand proud against a celadon background. This level of detail is most similar to Japanese potter Yuki Hayama who painstakingly paints thousands of flowers on some of his works.

However, this doesn't mean all other Korean potters adhere to his teachings. For example Korean ceramist Master Lee Hyang-gu can be seen making his version of a double-openwork with chrysanthemums in a his YouTube video.[59] He utilizes machine prepared clay, throws his vessels on an electric potter's wheel, makes a quick straight line cut through the outer vessel, and applies molded chrysanthemums. The difference between the two work methods helps explain why Master Lee can offer less expensive works than Master Kim.

Major solo exhibitions[edit]

2006 From Earth to Light, Icheon City, South Korea

2023 Story of a Thousand Years: Master of Goryeo Celadon, Los Angeles and New York City[60]

2024 "Royal Celadons" by Sechang Kim Se-Yong and Kim Dohun Kate Oh Gallery New York City

References[edit]

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  23. ^ 이천도자기 1편_"명장이 알려주는 전통도자기 만드는 방법"/ Icheon Ceramics : The process of making Icheon traditional ceramic. Retrieved 2024-04-17 – via www.youtube.com.
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  27. ^ 조선일보 (2023-08-28). "An empty exhibition hall in New York "Celadon is made by a fool with patience"". 조선일보 (in Korean). Retrieved 2024-03-19.
  28. ^ "'Story of a Thousand Years' makes it to Muckenthaler Cultural Center after 3 years". Daily Pilot. 2023-05-04. Retrieved 2024-03-17.
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  30. ^ https://www.kateohgallery.com/
  31. ^ "Exhibitions". Kate Oh Gallery. Retrieved 2024-04-18.
  32. ^ Neuendorf, Henri (2016-04-18). "Art Demystified: Why Galleries Don't List Prices". Artnet News. Retrieved 2024-03-19.
  33. ^ "뉴욕문화원, 한미동맹 70주념 기념 고려청자 명장 특별전 화려한 막 올려". 한국문화홍보서비스 (in Korean). Retrieved 2024-03-18.
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  36. ^ a b Seong, Chang-hee. "Sechang master Kim Se-yong, life and soul captured in celadon for 50 years... Ceramic art blooms [명장을 찾아서] 세창 김세용 명장, 50년 청자에 담은 삶과 혼...도자예술 꽃 피우다:동아경제". www.daenews.co.kr. Retrieved 2024-04-19.
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  48. ^ "Kutani Aochibu & Shirochibu". MUSUBI KILN. Retrieved 2024-04-19.
  49. ^ Shim, Hyeon-jeong (2015-06-29). "I think we were all workers in our past lives. [脈을 잇다] 우리 모두 前生에 陶工이었던 것 같아요". senior.chosun.com (in Korean). Retrieved 2024-04-19.
  50. ^ "Story of a Thousand Years: Master of Goryeo Celadon". Korean Cultural Center New York. 2023-08-10. Retrieved 2024-03-16.
  51. ^ "'Story of a Thousand Years' makes it to Muckenthaler Cultural Center after 3 years". Daily Pilot. 2023-05-04. Retrieved 2024-03-17.
  52. ^ 조선일보 (2023-08-28). "뉴욕의 텅 빈 전시장 "청자는 바보가 인내로 만든다"". 조선일보 (in Korean). Retrieved 2024-03-17.
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  55. ^ Choi, Seung-hyeon. "無心으로 지핀 불가마에서 만다라를 굽다 :: 주간불교 Burning a mandala in a fire kiln made with no intention". m.bulgyonews.co.kr. Retrieved 2024-04-01.
  56. ^ "세창도예연구소". www.scceladon.co.kr. Retrieved 2024-04-28.
  57. ^ From Earth to Light, Korean Ceramic Master Hand, Seyong Kim's Life. Retrieved 2024-04-25 – via www.youtube.com.
  58. ^ Korean Pottery "Story Of A Thousand Years" Episode 1. Retrieved 2024-04-25 – via www.youtube.com.
  59. ^ 이천도자기 1편_"명장이 알려주는 전통도자기 만드는 방법"/ Icheon Ceramics : The process of making Icheon traditional ceramic. Retrieved 2024-04-25 – via www.youtube.com.
  60. ^ "뉴욕문화원, 한미동맹 70주념 기념 고려청자 명장 특별전 화려한 막 올려". 한국문화홍보서비스 (in Korean). Retrieved 2024-03-18.

External links[edit]

YouTube video: Master Kim and his son demonstration making double-openwork vase.

Vase in Royal Collection Trust presented to Queen Elizabeth II in 1999

YouTube video: Korean Pottery "Story Of A Thousand Years" Episode 1

Sechan Artistic Ceramic Institute

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