hwasimdoyo

hwasimdoyo 🇰🇷 전통화심도요 임경문 도공(陶工) Korean potter, Im Kyung-moon
in Jeollabuk-do, South Korea

16/07/2026

A Brief Rest at HWASIM DOYO
​[화심도요의 휴식]

​A quiet moment at the studio. At the sound of tapping on the wooden floor, the studio cats gather. The mother cat, Mocha, waits calmly, while her kittens gather around Potter Im Kyeong-mun and their mother.

​A brief respite before returning to the clay.

​가마 앞의 긴장감을 내려놓는 도요의 휴식 시간입니다. 마루를 두드리는 소리에 고양이들이 모여듭니다. 어미 고양이 모카는 가만히 자리를 지키고, 새끼 고양이들이 모카와 임경문 도공의 주위를 맴돕니다.

​흙으로 돌아가기 전의 짧은 휴식입니다.

​

11/07/2026

Preparation of White Clay
​[백토 수비]

​Commercially available clay cannot fully withstand the high-temperature firing environment of HWASIM DOYO's wood-fired kiln. Therefore, sourcing high-quality, domestically excavated raw clay—the same used by potters during the ancient Goryeo and Joseon dynasties—and filtering out impurities through levigation is an essential preliminary step.

​The raw clay is dissolved in water and sifted through a sieve. The fine, settled clay is then drained of moisture and left to age. Only when sufficient plasticity is generated through this process is the clay finally ready to be placed on the kick wheel.

​This is a technique transmitted through six generations from the master.

​시중에 유통되는 점토는 전통화심도요 장작가마의 고화도 소성 환경을 온전히 버텨내기 어렵습니다. 따라서 옛 고려-조선 시대 도공들이 사용한 국내에서 채취한 고품질의 흙 원물을 공수하여 불순물을 걸러내는 수비 작업은 작업을 시작하기 위한 필수 과정 중 하나입니다.

​원토를 물에 풀어 체에 거른 뒤, 가라앉은 고운 흙물에서 수분을 빼내고 숙성시킵니다. 이 과정을 통해 흙 점력이 충분히 생성되어야 비로소 발물레 위에 오를 수 있는 온전한 점토가 완성됩니다.

​6대째 이어져 내려온 스승님께 전수받은 기술입니다.

#장작가마 #청자

08/07/2026

Preparation of Firewood for the Wood-Fired Kiln

[장작가마 소성을 위한 장작 준비]

Commercially available firewood does not meet HWASIM DOYO's strict standards for length and moisture content. Therefore, preparations for the next kiln fire begin by directly sourcing raw timber and cutting it to fit the exact dimensions of the kiln's stokehole (the opening on the side of the kiln used for adding wood and observing the interior).

This video shows the foundational process of cutting the raw timber into uniform lengths using a chainsaw.

The initially cut logs are then stacked and left to dry naturally over a long period. Only completely moisture-free firewood can generate the extreme heat required for the high-temperature firing pursued by HWASIM DOYO. Before entering the kiln, the dried wood is finally split with an axe to achieve its ultimate form for firing.

시중에서 판매되는 규격 장작은 길이와 건조 상태가 전통화심도요의 소성 기준에 미치지 못합니다. 따라서 원목을 직접 들여와 가마 창(장작을 넣거나 가마 내부를 확인하기 위해 가마 측면에 내어진 구멍)의 규격에 맞춰 직접 재단하며 다음 가마불을 위한 본격적인 준비에 돌입합니다.

이번 영상은 엔진톱을 이용해 원목을 일정한 길이로 토막 내는 기초 작업 과정입니다.

이렇게 1차 재단된 나무들은 적재되어 긴 시간 자연 건조를 거칩니다. 수분이 완전히 제거된 장작만이 전통화심도요가 추구하는 고화도 소성에 필요한 극한의 화력을 낼 수 있기 때문입니다. 건조를 마친 나무는 훗날 가마에 들어가기 전, 도끼로 쪼개어 최종적인 장작의 형태로 완성됩니다.

#장작가마

[ OFFICIAL REGISTRATION OPEN ] 2026 HWASIM DOYO MASTERCLASSA 7-day deep immersion into the legacy of Korean ceramics. Se...
04/07/2026

[ OFFICIAL REGISTRATION OPEN ] 2026 HWASIM DOYO MASTERCLASS

A 7-day deep immersion into the legacy of Korean ceramics. Set in the serene nature of Wanju, this is not a large-scale demonstration, but a highly private apprenticeship. Under the 1:1 guidance of Master Im Kyungmoon, you will completely immerse yourself in traditional Buncheong decorative techniques.

■ Session Details
• Capacity: 1 to 3 participants per session (first-come, first-served).
• 2026 Available Dates: Monthly sessions from July to November. (Please check the Google Form for exact dates; custom dates available upon inquiry).
• Language: Korean (Basic English and Japanese communication support provided to assist with daily class flow).
• Tuition: USD 2,600 (10-15% Team discounts available for 2-3 persons).
• Wood-Firing (Optional): USD 150 per piece (Max 3 pieces). Works will be fired in our traditional wood-kiln according to the official schedule and shipped globally (shipping fee separate).

■ How to Apply Priority in selection is given to applicants from abroad. As this is an exclusive session curated for an intimate group of 1 to 3 individuals, we welcome applications on a first-come, first-served basis.

1.Click the [ Link in Bio ] or visit hwasimdoyo.com

2. Read the '2026 MASTERCLASS' details and click [ APPLYING ]. (※ The application will safely open in a new Google Form tab.)

■ Contact
• Direct Message (DM): 전통화심도요 임경문
• Email & WhatsApp: Please use the official contact buttons on our Instagram profile.
• Website: Click the [ Link in Bio ]

(※ Notice: To accurately reflect its intensive format, this program was formerly announced as the "Monthly Workshop." Curriculum and fees remain entirely unchanged.)

03/07/2026

Master Im Kyeong-mun's 155th Wood-Fired Kiln Fire (Part 15) - Unloading the Fourth Chamber

[임경문 도공, 155번째 가마불 (Part 15) - 네 번째 칸 요출]

With the unloading of the fourth chamber, the 155th firing is complete. Potter Im Kyeong-mun has immediately begun work for the 156th kiln.

With over 40 years of experience in ceramics, Potter Im Kyeong-mun has dedicated himself to reproducing Korea's representative ceramic styles, including Celadon, Buncheong, and White Porcelain. Among these, his primary focus has been restoring the 'original color of Goryeo Celadon.'

His research on glazes, which began during his time at 'Udong Doyo'—located near the historic 12th and 13th-century Goryeo celadon kiln sites in Yucheon-ri and Jinseo-ri, Buan—continues uninterrupted at the present HWASIM DOYO. This 155th kiln firing was conducted with the objective of fully reproducing the blue hue of traditional celadon within the wood-fired kiln, uncompromisingly relying solely on natural glaze materials.

A total of approximately 2,000 pieces were fired in this kiln. These include replica works based on Goryeo celadon artifacts such as the 'melon-shaped ewer,' 'long-necked bottle,' and 'jubyeong,' alongside functional wares that capture the lines and traditional motifs of Korean ceramics. Crafted from last summer to this spring by Potter Im Kyeong-mun and his apprentice and wife, Doheon, these pieces were completed through a 3-day bisque firing, followed by glazing and a subsequent 6-day glaze firing.

네 번째 칸 요출을 끝으로 155번째 가마 소성을 모두 마무리합니다. 임경문 도공은 곧바로 156번째 가마를 위한 다음 작업에 들어갔습니다.

도예에 입문한 지 40여 년, 임경문 도공은 청자와 분청사기, 백자에 이르는 한국의 대표적인 도자 양식 재현에 몰두해 왔습니다. 그중에서도 그가 가장 집중해 온 과제는 '고려청자 본연의 색'을 되찾는 일입니다.

고려시대 청자 가마 집성촌(12~13세기 부안 유천리와 진서리 일대) 근방에 자리했던 과거 '우동도요' 시절부터 시작된 유약 연구는 현재의 전통화�

30/06/2026

Master Im Kyeong-mun's 155th Wood-Fired Kiln Fire (Part 14) - Unloading the Second Chamber

[임경문 도공, 155번째 가마불 (Part 14) - 두 번째 칸 요출]

The second chamber was fired at a temperature high enough to fully melt the natural glazes. During this process, some pieces inevitably stuck to the kiln floor or lost their original celadon color. Even with the experience of 155 firings, operating a wood-fired kiln remains a highly sensitive task, where a slight angle of a firewood log or a sudden change in weather can alter the final outcome.

With over 40 years of experience in ceramics, Potter Im Kyeong-mun has dedicated himself to reproducing Korea's representative ceramic styles, including Celadon, Buncheong, and White Porcelain. Among these, his primary focus has been restoring the 'original color of Goryeo Celadon.'

His research on glazes, which began during his time at 'Udong Doyo'—located near the historic 12th and 13th-century Goryeo celadon kiln sites in Yucheon-ri and Jinseo-ri, Buan—continues uninterrupted at the present HWASIM DOYO. This 155th kiln firing was conducted with the objective of fully reproducing the blue hue of traditional celadon within the wood-fired kiln, uncompromisingly relying solely on natural glaze materials.

This is a technique transmitted through six generations from his master.

두 번째 칸은 자연물로 배합한 유약이 충분히 녹아내릴 만큼 높은 온도에서 소성이 진행되었습니다. 그 과정에서 바닥에 기물이 붙거나 청자의 비색을 잃어버린 결과물도 다수 나왔습니다. 155번째 가마불임에도 장작을 넣는 작은 각도나 순간적인 날씨 변화 하나에 결과가 달라지기에, 장작가마는 늘 예민하고 조심스러운 작업입니다.

도예에 입문한 지 40여 년, 임경문 도공은 청자와 분청사기, 백자에 이르는 한국의 대표적인 도자 양식 재현에 몰두해 왔습니다. 그중에서도 그가 가장 집중해 온 과제는 '고려청자 본연의 색'을 되찾는 일입니다.

고려시대 청자 가마 집성촌(12~13세기 부안 유천리와 진서리 일대) 근방에 자리했�

27/06/2026

Master Im Kyeong-mun's 155th Wood-Fired Kiln Fire (Part 13) - Unloading the Third Chamber

[임경문 도공, 155번째 가마불 (Part 13) - 세 번째 칸 요출]

With over 40 years of experience in ceramics, Potter Im Kyeong-mun has dedicated himself to reproducing Korea's representative ceramic styles, including Celadon, Buncheong, and White Porcelain. Among these, his primary focus has been restoring the 'original color of Goryeo Celadon.'

His research on glazes, which began during his time at 'Udong Doyo'—located near the historic 12th and 13th-century Goryeo celadon kiln sites in Yucheon-ri and Jinseo-ri, Buan—continues uninterrupted at the present HWASIM DOYO. This 155th kiln firing was conducted with the objective of fully reproducing the blue hue of traditional celadon within the wood-fired kiln, uncompromisingly relying solely on natural glaze materials.

A total of approximately 2,000 pieces were fired in this kiln. These include replica works based on Goryeo celadon artifacts such as the 'melon-shaped ewer,' 'long-necked bottle,' and 'jubyeong,' alongside functional wares that capture the lines and traditional motifs of Korean ceramics. Crafted from last summer to this spring by Potter Im Kyeong-mun and his apprentice and wife, Doheon, these pieces were completed through a 3-day bisque firing, followed by glazing and a subsequent 6-day glaze firing.

This is a technique transmitted through six generations from his master.

도예에 입문한 지 40여 년, 임경문 도공은 청자와 분청사기, 백자에 이르는 한국의 대표적인 도자 양식 재현에 몰두해 왔습니다. 그중에서도 그가 가장 집중해 온 과제는 '고려청자 본연의 색'을 되찾는 일입니다.

고려시대 청자 가마 집성촌(12~13세기 부안 유천리와 진서리 일대) 근방에 자리했던 과거 '우동도요' 시절부터 시작된 유약 연구는 현재의 전통화심도요까지 끊임없이 이어지고 있습니다. 타협 없이 오직 자연 유약 재료만을 고집하며, 장작가마의 불길 속에서 전통 청자의 푸른빛을 온전히 재현해 내는 것을 목표로 이번 155번째 가마불이 진행�

23/06/2026

Master Im Kyeong-mun's 155th Wood-Fired Kiln Fire (Part 12) - Unloading the First Chamber

[임경문 도공, 155번째 가마불 (Part 12) - 첫 번째 칸 요출]

With over 40 years of experience in ceramics, Potter Im Kyeong-mun has dedicated himself to reproducing Korea's representative ceramic styles, including Celadon, Buncheong, and White Porcelain. Among these, his primary focus has been restoring the 'original color of Goryeo Celadon.'

His research on glazes, which began during his time at 'Udong Doyo'—located near the historic 12th and 13th-century Goryeo celadon kiln sites in Yucheon-ri and Jinseo-ri, Buan—continues uninterrupted at the present HWASIM DOYO. This 155th kiln firing was conducted with the objective of fully reproducing the blue hue of traditional celadon within the wood-fired kiln, uncompromisingly relying solely on natural glaze materials.

A total of approximately 2,000 pieces were fired in this kiln. These include replica works based on Goryeo celadon artifacts such as the 'melon-shaped ewer,' 'long-necked bottle,' and 'jubyeong,' alongside functional wares that capture the lines and traditional motifs of Korean ceramics. Crafted from last summer to this spring by Potter Im Kyeong-mun and his apprentice and wife, Doheon, these pieces were completed through a 3-day bisque firing, followed by glazing and a subsequent 6-day glaze firing.

This is a technique transmitted through six generations from his master.

도예에 입문한 지 40여 년, 임경문 도공은 청자와 분청사기, 백자에 이르는 한국의 대표적인 도자 양식 재현에 몰두해 왔습니다. 그중에서도 그가 가장 집중해 온 과제는 '고려청자 본연의 색'을 되찾는 일입니다.

고려시대 청자 가마 집성촌(12~13세기 부안 유천리와 진서리 일대) 근방에 자리했던 과거 '우동도요' 시절부터 시작된 유약 연구는 현재의 전통화심도요까지 끊임없이 이어지고 있습니다. 타협 없이 오직 자연 유약 재료만을 고집하며, 장작가마의 불길 속에서 전통 청자의 푸른빛을 온전히 재현해 내는 것을 목표로 이번 155번째 가마불이 진행�

20/06/2026

Master Im Kyeong-mun's 155th Wood-Fired Kiln Fire (Part 11) - The Climax & Finale of 'Changbul'

​[임경문 도공, 155번째 가마불 (Part 11) - 재벌 소성 '창불' 마무리]

​With over 40 years of experience, Potter Im Kyeong-mun has conducted approximately 155 wood-fired kiln firings, from his period of solitary discipline at Buan 'Udong Doyo' to the present HWASIM DOYO.

In this year's regular firing held in the 14-chamber main kiln, around 2,000 pieces are being fired.
​In this kiln fire, replica pieces based on Goryeo celadon artifacts—such as the 'melon-shaped ewer', 'long-necked bottle', and 'jubyeong'—alongside functional wares (tea vessels, cups, etc.) are being fired together.

​This video shows the final stage of 'Changbul', concluding the 6-day glaze firing. Potter Im feeds firewood into the top observation window to deliberately create flames. Using this blazing light to check the reflection on the wares, he visually diagnoses the glaze's condition. Relying solely on the fire's color and heat instead of modern thermometers, this process demands extreme sensitivity.

​Therefore, the firing is controlled exclusively by Potter Im Kyeong-mun and his apprentice and wife, Doheon, concluding with this stage. Afterward, allowing the kiln to completely cool, the 'Yochul' process of taking out the finished pieces will follow.

​This is a technique transmitted through six generations from his master.

​도자기 기술을 연마한 지 40여 년 경력의 임경문 도공은 부안 '우동도요' 시절을 거쳐 현재의 전통화심도요에 이르기까지 약 155회의 장작가마 소성을 진행해 왔습니다. 올해 14칸 본 가마에서 진행되는 정기 소성에서는 약 2,000여 점의 기물이 소성되고 있습니다.

​이번 가마불에서는 고려청자 유물('과형 주자', '장경병', '주병')을 재현한 작품을 비롯해, 한국 전통 도자기의 선과 문양을 담아낸 실용기(다관, 컵 등)가 함께 소성 중입니다.

​이번 영상은 6일간 이어진 재벌 소성을 종료하는 '창불'의 최종 단계입니다. 임경문 도공은 가마 상단의 관측 창에 장작�

17/06/2026

Master Im Kyeong-mun's 155th Wood-Fired Kiln Fire (Part 10) - Entering the 'Changbul' Stage

[임경문 도공, 155번째 가마불 (Part 10) - 재벌 소성 '창불' 진입]

With over 40 years of experience refining his ceramic artistry, Potter Im Kyeong-mun has conducted approximately 155 wood-fired kiln firings, spanning from his early days of receiving the technical transmission to his period of solitary discipline at Buan 'Udong Doyo', and leading up to the present HWASIM DOYO. For this year's regular firing held in the 14-chamber main kiln, approximately 2,000 pieces crafted from last summer to this spring are being fired inside the kiln.

In this kiln fire, replica pieces based on Goryeo celadon artifacts—such as the 'melon-shaped ewer', 'long-necked bottle', and 'jubyeong' (liquor bottle)—alongside functional wares (tea vessels, cups, etc.) that capture the elegant lines and traditional motifs of Korean ceramics, are being fired together.

This video shows the process of entering 'Changbul', the final stage of the 6-day glaze firing. Changbul is a core process of raising the internal temperature by feeding firewood through the windows (holes) located on both sides of the kiln. As it is a sensitive and delicate task that requires accurately reading the flow of the fire, it demands extreme concentration. Potter Im Kyeong-mun and his apprentice and wife, Doheon, who have worked together for a long time, take charge of both windows exclusively to strictly control the firepower.

This is a technique transmitted through six generations from his master.

도자기 기술을 연마한 지 40여 년 경력의 임경문 도공은 과거 기술을 전수받던 시절과, 홀로 수련에 매진했던 부안 '우동도요'를 거쳐, 지금의 전통화심도요에 이르기까지 약 155회의 장작가마 소성을 진행해 왔습니다. 올해 전통화심도요의 14칸 본 가마에서 진행되는 정기 소성에서는 지난해 여름부터 올해 봄까지 작업한 약 2,000여 점의 기물이 가마 안에서 소성되고 있습니다.

이번 가마불에서는 고려청자 '과형 주자'와 '장경병(목이 긴 병)', '주병' 유물을 바탕�

Address

전북 완주군 소양면 상관소양로 838/20
Wanju
55346

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