Korean Guiyal Buncheong Low-Footed Moon Plates, 3 Sizes
Meet the Korean Guiyal Buncheong Low-Footed Moon Plates, offered in 3 Sizes, wheel-thrown and hand-crafted by ceramist Seungki Min in Icheon, South Korea.
A series of low-footed ceramic plates finished in Guiyal buncheong, distinguished by their softly brushed white slip and atmospheric surface variation. The pale glaze reveals subtle tonal movement, pooling, and gestural traces that emerge through firing, evoking the quiet luminosity of the moon.
Rooted in the Korean buncheong tradition of the Joseon period, guiyal (귀얄) refers to a slip-brushing technique in which white clay is applied with broad, expressive strokes, allowing the spontaneity of the maker’s hand to remain visible beneath the glaze. The result is a surface that feels simultaneously restrained and deeply alive — painterly, tactile, and intentionally imperfect.
Each plate rests on a minimal trimmed foot, creating a floating profile that emphasizes lightness and proportion. Their nearly flat silhouette lends itself to serving, display, or everyday ritual, while the softly reflective glaze surface shifts subtly with changing light.
Individually thrown, slipped, and fired, no two pieces are identical. Variations in brushwork, tone, and surface texture are inherent to the buncheong process and central to the character of each work.
A glossy finish lends the piece a smooth, quietly luminous tactile quality.
A potter’s mark is carved on the bottom of the plate.
Dimensions:
S: approx. ⌀ 4.25" × H .5"
M: approx. ⌀ 6.5" × H .75"
L: approx. ⌀ 8.25" × H .9"
Glazed ceramic. Lead-free.
Handcrafted in Korea.
About Seungki Min: Seungki Min is a contemporary Korean ceramic artist known for his refined wheel-thrown pottery that draws deeply from Korea’s celebrated ceramic traditions, especially Buncheongand moon jar forms while also adapting them for a modern audience.
Min's ceramics sit at an interesting intersection: they honor historical Korean clay traditions, yet don't replicate them slavishly. By experimenting with colored slip, layered glazes and minimal form, Min pushes the material language of Buncheong and Celadon into new territory. His pieces speak to both past and present: humble, meditative, and thoughtfully expressive.
