Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif
Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif
Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif
Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif
Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif
Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif
Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif
Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif
Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif
Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif

Celadon Plate: White Slip Sgraffito (Bakji) with Plum Blossom Motif

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This piece tends to remain with those who find meaning not at the centre of things, but at their quiet edges.

“A circle holds its breath, allowing the season to arrive only where it is needed.”

This celadon plate is composed around restraint rather than fullness. Its form is open and generous, yet deliberately calm, offering a wide expanse of celadon surface that remains largely untouched. The decoration withdraws to the rim, where it settles with measured confidence, allowing space itself to become the principal element.

Made by Jo Byeong-gwan, the plate begins with a layer of white slip applied across the upper surface. Through the bakji technique—known in Korean ceramics as bakji (剝地)—selected lines of the plum tree are carefully carved away. Where the surface is cut back, the celadon body beneath is revealed, allowing its distinctive colour to emerge naturally, not as an applied tone but as something uncovered.

The plum blossoms themselves are rendered in red clay, their colour restrained yet quietly insistent. Rather than spreading across the plate, the blossoms and branches remain at the outer edge, forming a loose, continuous rhythm that follows the circular boundary. This decision gives the composition its particular clarity: the motif does not occupy the plate, it frames it.

In Korean cultural symbolism, the plum blossom (maehwa) is associated with endurance and integrity, flowering in late winter when warmth has not yet fully returned. Here, that symbolism is carried not only by the image, but by its placement. By confining the motif to the perimeter, the work suggests resilience that does not seek the centre, but persists steadily at the margins.

The surface bears a fine network of natural crackle within the glaze, a characteristic of celadon that deepens with time. This subtle texture interacts gently with light, ensuring that the plate reveals itself gradually rather than all at once. The underside, finished with equal care, reinforces the sense that the object is complete from every angle, whether held, used, or placed upright on its stand.

Though fully functional in daily life, this plate also carries the presence of an independent object. When displayed vertically, the circular field and restrained ornamentation allow it to read as a quiet plane of colour and line—neither purely utilitarian nor overtly decorative.

This is a work that does not attempt to fill space. Instead, it defines space through what it withholds, allowing celadon colour, carved line, and red blossom to coexist in careful balance.


Dimensions

  • Diameter- 22.5cm
  • Height- 2.5cm

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