Joseon's bowl is by no means a 'maksabal'

 The Joseon bowl is never a "bamboo bowl," said Seo Mi-hyun, a reporter for "Our Bowl Story" by Shin Han-kyun, a fraudster, "The Joseon bowl was made by potters just using and throwing away without any artistic consciousness. However, we Japanese have an intuition to see things, so we sublimated a grab bowl, which no one had ever seen in Joseon, into the noblest tea bowl. Therefore, the beauty of the Joseon bowl is the Japanese sense of beauty that was discovered."    ▲ <Our Bowl Story> 2002005 This is why the Joseon bowl, explained by the Japanese people of Gayanet, became Japan's national treasure. It is a claim that Japan has sublimated what was first made by Joseon but treated as a very ugly catch, into a specialty of the world. But so far, few have disputed Japan's ongoing catch theory. Rather, they accept the theory of catching and use the word "maksabal" naturally. Recently, there has been a person who has criticized this issue head-on. He is a fraud, neither a famous scholar nor a professional. This is the story of Shin Han-kyun, a fraudster who published "The Story of Our Bowl." By chance, he saw the Joseon bowl, which became Japan's national treasure, and was convinced that it was never a self-baked rice bowl. Since then, he has been obsessed with finding the roots of "Maksabal" by searching for old documents of Kyujanggak and meeting Japanese art museums and private collectors. Then, over a decade later, he finally discovered a secret. The "Maksabal" was not just made to use and throw away, but was a jegi made by a fraudulent plant. The evidence is the map seed and color of the bowl, narrow and high heels that are difficult to use practically, and the subtle rain-blue color created after careful calculation through a fireplace that requires keeping the kiln at more than 1,300 degrees. The Joseon bowl, which Japan downgraded to an accidentally created "aesthetics of failure" but supported as a national treasure, was a ritual used to hold ancestral rites at private houses near Jinju. "Koryo Dawan (Korean bowl), which Japan treats as a national treasure, is not a maksabal. Instead, it should be called Hwang Tae-ok's bowl, considering its color and decoration." He rejects the word 'mak-babal' itself. This is because Yanagi Muneyoshi, an aesthetist during the Japanese colonial period, translated the expression by disparaging the value of the Joseon bowl, and originated from the logic of colonial history. Instead, it was named "Hwang Tae-ok Bowl" in consideration of color and decoration. Shin Han-kyun is the eldest son of Shin Jeong-hee Ong, who first reproduced a Joseon bowl that moved to Japan in 1968. Although he majored in business administration and stood on the platform of a university, he grabbed dirt instead of a pen to continue his family business. Twenty years after living with the bowl, he made it his lifelong goal to restore the meaning of our misknown bowl and let people know it. Our Bowl Story is an extension of that. He didn't care about the sarcastic remarks from people around him, saying, "Why is a bowl maker sticking to the study of a bowl that went to Japan?" <Our Bowl Story> adds to the fun of reading the history of our bowl from the perspective of the scammer as well as the interesting backstory related to it. It also tells the story that the Joseon bowl became a treasure for the Japanese before the Japanese Invasion of Korea, and that the "Cha-Bal War" that Japan fought to take away the Joseon bowl, the world's best ceramic destination at the time, was the Imjin War. He also recreated Hoeryeong bowl, which is not well known to us. At the Dangjinso exhibition held in Japan in 1990, I felt that there was a deep relationship with us while looking at the cultural property pottery called "Ogoryo." Dangjin is a village of potters who crossed from Dangjin in Joseon under the name of Kyushu, Japan. And in the decade, Shin finds something interesting. It was revealed that "Ogoryo" belonged to the gold built by the Yeojin invading northern China, and that Hamgyeong was also made in the Hoeryong region. It was also found that the coolness of the Joseon Dynasty began here. The book also featured 400 photos of pottery manufacturing methods and Korean bowls that could only be talked about without a fraudulent plant. And Shin didn't forget what he said. Pottery is not an art of seeing, but an art of writing. "Pottery that is not in use has lost its meaning as a ceramic. The beauty of true ceramics is found in use." Pottery is the philosophy of Shin Han-kyun, a swindler of our bowls.