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  There may be some differences of artistic sense and emotion   among nations, but Koryo Celadon, boasting its beautiful color,   represents the traditional work of art in Korea and is loved by all      the people both in the East and the West. 
  With assurance of infinite possibility for the profound and extreme   beauty of Koryo Celadon to influence the world, I decided to start   my new life as ceramic artist at the age of more than 40.  My   pseudonym, Hyuk-San, meaning a red or shining mountain, was   given in the early 1960s by an esteemed person, before I started   making celadon.  Come to think of it now, the name was meant to   be a sign of my destiny as ceramic artist.
 Dongkukyo is located at Suha-Ri, away from the center of  Icho    
 Suha-Ri could mean either a village underneath water or a   village   with abundant water underneath the earth and without any   
  damage   from water even during the rainy season in summer.
   
  
Suha-Ri, in a   word, is a village living with water.  Water, together   with   clay and   fire, is a main source in potting, which is indeed
  the   art of   harmony   among good clay, clean water, and proper
  fire.

  It was in 1971, 30 years ago from now, when I first fired the kiln named Dongkukyo in which Dongkuk is an old   name of Korea or Koryo Dynasty’s historical name meaning eastern country.  The road to Dongkukyo is now well   paved even for coach to move in and out.  In the early days, however, it was very muddy everywhere and difficult to   walk around even with boots.  But, these inferior circumstances could not stop me from enthusiasm for celadon.    Only with desire and ambition for celadon, I read the concerned books over and again, and had to go to Kangjin-Kun   in Chonnam Province tens of times to find the most similar raw materials and search for celadon fragments of the   Koryo period.  Kangjin-Kun is in fact known as a birthplace of Koryo Celadon.  It was my firm belief that good clay   and glaze are prerequisite for the re-making of Koryo Celadon, and I was fortunate enough to have those who   understood my literal-minded pursuance and extended support.  The late Soon-Woo Choi, former curator of the   National Museum of Korea, encouraged me with comment that my works were the most resembled to Koryo   Celadon of the 12th century in terms of color and shape.  Thanks to the late Byong-Chul Lee, former chairman of   Samsung group, I was able to open the first personal exhibition at Sinsegae department store in Chungmu-Ro,
  Seoul.
  I should also extend my sincere pray for the happiness of the late Young-Jae Ko, the late Ki-Hyun Joo and   the late Yong-Keun Sun who laid the foundation to Dongkukyo.  In addition, I should also extend my deep   appreciation to such people as Mr. Soon-Sup Choi, Mr. Kato Masai, my intimate friend who had been helping me   under difficult situations, Mr. and Mrs. Nakayama Eiichi, chairman of the Japanese Society for Loving and   Cherishing Dongkukyo, Mr. Baba Naoto, to name only a few.

  Nothing could possibly be compared with the happiest moment of my life, after repetitive experiments and   hardships for years, when I came across the clay in 1975 in Kyeyul-Ri, Daegu-Myeun, Kangjin-Kun in Chonnam   Province.
  The clay was supposed to be the most similar to the one from the Koryo period, and it was the biggest luck to   Dongkukyo.  I could not sleep at all as I was so excited as if to find the whole celadon of the ancient times.  There   were of course many difficulties in my life.  A member of Dongkukyo left me without a word, and there were some   complications with celadon merchants.  But, I regard them as good guider and contributor to demonstrate the true   value of celadon from Dongkukyo.

  I have been living under my motto “Do not wish or expect something from what I want in mind.”  Dongkukyo still   looks as same as it was in the beginning in its shape, but I have been doing my utmost to produce the best quality   of celadon from Dongkukyo with my spirit, together with good clay and glaze.

  I am now in the age of 80s, maybe the oldest among the Korean ceramic artists.  But, what I have in my life ahead   will also be spared with what I have been doing up to now so as to remake and develop Koryo Celadon with such   mysterious and blue color and to have my goal of life in success.  Should reciprocal compensation be made, this   would be a reply to all those who had been extending their indispensable assistance and support.