[Special Exhibition] The Architecture of Light: Ceramist Lee Sang-bong

Prologue

There is a silence that exists only within the kiln. It is the silence of transformation, where earth meets fire, and intention becomes form.

In this curated collection, Artinko presents two masterpieces by Ceramist Lee Sang-bong. Yet, these are not merely vessels; they are architectures of light.

Through the perilous and exacting art of Double-Wall Openwork (Ijung Tugak), the artist has created a space where the gaze can travel through the outer shell to rest upon an inner sanctuary. Here, emptiness is not a void—it is a canvas for light.

Part I. The Geometric Silence

Korean Celadon Maebyeong Vase: Double-Wall Openwork with Chilbo Pattern

"Where mastery carves light into silence, and balance breathes between shadow and form."

In the history of ornamentation, geometry is the language of order. This vessel stands as a testament to that discipline.

Ceramist Lee Sang-bong has employed the Ijung Tugak technique to construct a lattice of exquisite tension. The outer wall, pierced with a relentless, rhythmic precision, creates a veil over the inner chamber.

The Details

Observe the surface. It feels alive, a tactile field of miniature sculptures.

The Chilbo (Seven Jewels) pattern is not merely decorative; it creates a window for light to drift through and settle softly into the shadows within. The crimson dots, rendered with red earth, act as a quiet heartbeat amidst the serene jade-green glaze.

The Atmosphere

It anchors the space with architectural beauty. Anchored by the inlaid chrysanthemum motifs—timeless symbols of dignity—this vase balances the intricate with the repose.

Part II. The Breathing Garden

Korean Celadon Maebyeong Vase: Double-Wall Openwork with Peony Motif

"Where silence gathers in shadows, and every carved petal whispers of devotion."

If the Chilbo vase represents order, this vessel represents life’s uncontainable flourish. Here, the strict lattice gives way to the organic curve of the Peony, the "King of Flowers."

The double-wall technique here serves a different purpose: it allows the garden to breathe.

The Texture of Time

The Bakji (relief carving) technique lifts the petals from the surface, creating a sculptural depth that blurs the line between object and atmosphere. The interplay between solid form and open void suggests movement, as if a breeze is passing through the porcelain leaves.

Context

Standing with the generous shoulders and slender waist of the classic Maebyeong, this piece carries the weight of history with a lightness of spirit. It is a meditation on abundance.

Specifications

Epilogue: A Sanctuary for the Eye

These pieces invite a slow, deliberate gaze. They are designed for spaces that value the quiet dialogue between craftsmanship and time.

Whether holding a single branch of seasonal plum blossom or standing empty as a sculpture of light, they remain triumphs of mastery.

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