During this year's expedition to Korea, this time as a member of the Herbaty Czas teahouse crew, I had the opportunity to visit a few masters of Korean ceramics, drink tea with them and talk a lot about the tea culture in Korea.
In today's post I would like to introduce you to what this visit looks like and why it is such an important experience for me.
Masters of ceramics do not live in random places, their location results from the availability of clay, wood, a certain distance from large cities: ceramics who I met are involved in the production of ceramics fired in wood furnaces, it is the most valued type of firing, giving the most expensive varieties of ceramics, however, the proximity of such a furnace can be cumbersome.
They usually live in the villages and to get to them, a car is needed (I do not know what we would have done without our great Ms. Pak, who took us everywhere).
Each master of ceramics has their own workshop, a space for making tea in the form of a dedicated room and a small exhibition of his works, both in the place where tea is brewed or in a separate room, if the exhibition is expanded.
The first part of the visit is always tea, brewed by the master, in his own vessels, in a specially designed room full of his works. Such tea meeting is an aesthetic experience. Although this is by no means a ceremony, the atmosphere is lofty, calm, focused, supported by the view of the beautiful ceramics, both the one from which we will soon drink tea, as well as the ones displayed around. There is no mess, chaos, disorder. Each element has its meaning and place, although one does not feel the tension of discipline, on the contrary, the atmosphere is filled with cordiality and joy of meeting.
Teas made by masters are Korean teas, hence most of the summer we will drink green leaf teas (Woojeon or Sejak), green powdered tea (mal-cha, also called kkaru-cha) and regardless of the season of the year, highly oxidized, gently fermented Balhyo-cha, a Korean specialty.
It also happens that at the end of the meeting, the host may prepare herbal tea.
After tea and conversation (usually quite long and very valuable), it's time to watch the exhibition of ceramics, accompanied by the master, so one can ask for any object, consolidate the newly acquired knowledge. And to admire, because it really is something.
And when we have asked about everything, we can ask for one more thing, to show the furnace for firing ceramics, which the master will do with pleasure. Such a furnace is usually located next to the tea room, it is usually the size of a large garage and is an attraction in itself. Several chambers, capable of accommodating at least one person, placed one behind the other. During the viewing of the furnace, the master once again talks about how he works, how much time the firing takes and how much energy and work it requires. You can then understand why some people even decide to just have one firing in a year. And why their works must cost as much as they cost.
At the end, there is a cordial goodbye, bows (which can be as cordial and as grateful as our hugs) and time to leave, trying to sort out everything that has happened in the last moments. Just do it quickly, because Ms. Pak is already taking us to the meeting with the next master...
In today's post I would like to introduce you to what this visit looks like and why it is such an important experience for me.
 |
| Master Im Man-jae's teahouse |
Masters of ceramics do not live in random places, their location results from the availability of clay, wood, a certain distance from large cities: ceramics who I met are involved in the production of ceramics fired in wood furnaces, it is the most valued type of firing, giving the most expensive varieties of ceramics, however, the proximity of such a furnace can be cumbersome.
 |
| Iside Master Im Man jae's teahouse |
They usually live in the villages and to get to them, a car is needed (I do not know what we would have done without our great Ms. Pak, who took us everywhere).
 |
| Master Im Man-jae preparing tea |
Each master of ceramics has their own workshop, a space for making tea in the form of a dedicated room and a small exhibition of his works, both in the place where tea is brewed or in a separate room, if the exhibition is expanded.
 |
| Beautifully served tea sweets |
The first part of the visit is always tea, brewed by the master, in his own vessels, in a specially designed room full of his works. Such tea meeting is an aesthetic experience. Although this is by no means a ceremony, the atmosphere is lofty, calm, focused, supported by the view of the beautiful ceramics, both the one from which we will soon drink tea, as well as the ones displayed around. There is no mess, chaos, disorder. Each element has its meaning and place, although one does not feel the tension of discipline, on the contrary, the atmosphere is filled with cordiality and joy of meeting.
 |
| Master Kil Sung's tea room |
Teas made by masters are Korean teas, hence most of the summer we will drink green leaf teas (Woojeon or Sejak), green powdered tea (mal-cha, also called kkaru-cha) and regardless of the season of the year, highly oxidized, gently fermented Balhyo-cha, a Korean specialty.
It also happens that at the end of the meeting, the host may prepare herbal tea.
 |
| Master Kil Sung's works |
After tea and conversation (usually quite long and very valuable), it's time to watch the exhibition of ceramics, accompanied by the master, so one can ask for any object, consolidate the newly acquired knowledge. And to admire, because it really is something.
 |
| Tea prepared by the daughter of Master Shin Bong-gyun |
And when we have asked about everything, we can ask for one more thing, to show the furnace for firing ceramics, which the master will do with pleasure. Such a furnace is usually located next to the tea room, it is usually the size of a large garage and is an attraction in itself. Several chambers, capable of accommodating at least one person, placed one behind the other. During the viewing of the furnace, the master once again talks about how he works, how much time the firing takes and how much energy and work it requires. You can then understand why some people even decide to just have one firing in a year. And why their works must cost as much as they cost.
 |
| Tea space at Master Shin Yong-kyun's gallery... |
 |
| and tea prepared by his wife. |
At the end, there is a cordial goodbye, bows (which can be as cordial and as grateful as our hugs) and time to leave, trying to sort out everything that has happened in the last moments. Just do it quickly, because Ms. Pak is already taking us to the meeting with the next master...
 |
| Master Shin Bong-gyun is showing us the furnace, photo: Małgorzata Devos |
 |
| Master Kil Sung's furnace, photo: Małgorzata Devos |
