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Pottery can be divided into two types,

Firstly Earthenware is a pottery which burns in 700~1000 Celsius degrees, roof tile, terracotta, Mediterranean Pottery..

Secondly Porcelain is burned in 1250~1300.
Wash stand, toilet, bath tub, England Wedgwood.

A way of making is similar but when you hit the surface of the Pottery it it sounds thick and heavy, that is earthenware, if it sounds like high and crackling, that is Porcelain.

Earthenware mainly uses clay, contains a lot of Iron and alumina the colors are gray and brown.
Porcelain mainly uses rocks which contains feldspar, silica stone, alumina, limestone.
The color of Porcelain is varied from the glaze.
Earthenware does not need to be applied for glaze, but Porcelain is needed to be.

Born China started from Staffordshire in England by mixing bones of cows.
The first porcelain was made in Maisen in Germany 1710.

Once a glaze is applied and the pieces is fired causing a chemical reaction.
Key components of different glazes each have their own function.

1. Silica(industrial sand) : The glass former key ingredient, obtained naturally from quartz, sandstone, sand, silica oxide. melting point is 1710 "

2. Alumina: The Refractory
Nearly all glazes contains Alumina or aluminum oxide, acts as a stiffening agent.
Without Alumina, the glaze would simply slide off, by adding Alumina the glaze can stick to the potterys' surface without coming off. disperse fine gas enhance pink hues.

3. Flux: The Melting agent
Fluxes play the key role in lowering the melting point of silica, making it usable in ceramic glaze. Obtained from limestone as calcium oxides.
Some are very active, allowing the glaze to mature at earthenware, others are less active.

4. Colorant: the Beautifier
colorants need in order to achieve the wide range of hues.
Knowing what minerals creat which colors is key to making your end product.

• 상감 is a unique technique of inlaying patterns on the surface of the celadon. Korean potters developed their unique inlay method. Inlay technique was widely used for bronze and other work.

1. Etching motifs with knife on the surface of the celadon body which is semi-dried.

2. Filling in the carved space with white or/and black slip.

3. Brush off the surface of the celadon body and remaining the pattern.

4. Dry out the celadon and biscuit fire and translucent glaze applied and second fire.