The Operation Situation of Traditional Pottery Workshops According to Integrated Environmental Changes of Onggijang, Jeolla-do Intangible Cultural Asset

This study aimed to seek for the measures for succeeding the expansive pottery culture based on the tradition of Jeolla-do pottery. The Western culture adopted with the modernization has brought the ground-breaking changes in the traditional lifestyle. With the introduction of new raw materials and power, and the development of machines, the large quantity of industrial products replacing the traditional household items like pottery was spread. The flow of change was led to the decreased demand for pottery. With the decrease of pottery workshops and pottery masters, diverse policies for the preservation of traditional pottery were implemented. The designation of pottery masters as intangible cultural heritages could be a part of this preservation policy. Currently, the intangible cultural heritage pottery masters in Jeolla-do include Jeong, Yoon-Seok, Lee, Hak-Soo, Ahn, Si-Seong, and Lee, Hyeon-Bae. The intangible cultural heritage pottery masters are facing the situation of inheriting the pottery tradition and also adapting themselves to the changed manufacturing consumption environment of modern times. The purpose of this study is to establish the foundation for succession and modernization of Jeolla-do pottery tradition. Therefore, this study was intended to investigate traditional pottery succession done in the actual field and the current situation of workshops based on Onggijang, the intangible cultural asset of Jeolla-do. The details and the results are as follows. First, the utilization of heavy equipments in the clay process of pottery workshops was the measures for replacing the labor force, which was the change for the succession of pottery tradition. Second, the Surejil technique in the pottery shaping was an important process containing the strong tradition of handwork, compared to other processes. Third, the production of board fence as a differentiated characteristic of the shaping technique of Jeolla-do pottery showed the crossed will to stick to the tradition and also to pursue the efficiency of pottery production through the coexistence of production by handwork and wedging table. Fourth, the improvement of pottery spinning wheel and shaping tools showed the characteristics of pottery culture based on the practicality by pursuing the practicality in the selection of spinning wheel and tools. Fifth, as the pottery masters performed the whole processes of pottery production, the omission of hand-painting accompanied in the glazing process reflected the simplification of manufacturing process and the change of production items like daily dishware. Sixth, the efficiency of pottery production was sought for by adjusting the production period in accordance with the decreased products, reducing the size of kilns for reducing the production cost, or utilizing the modern-style kiln. Seventh, the traditional pottery like pots was standardized with less items while the small-size living pottery and work pottery emphasizing the formative elements were diversified, which showed the changes in pottery products considering the changes of consumption pattern. The purpose of succession of tradition is toestablish the identity of pottery culture, and also to create the new cultural value, instead of simply maintaining the old stuff. Based on these results, this study is expected to become a practical foundation for understanding of the current situation of pottery workshops and for succession of future-oriented pottery tradition.