He graduated from Eumsong High School and he studied mechanical engineering at Choongjoo Technical College. After graduation, he became employed in Daehan Steels and Hoonghan Chemicals for lathe and gear drafting. One day in 1973, Lim read an article from the newspaper Joseon Ilbo, saying that two famous artists, Unbo Kim Gi-Chang and Yidang Kim Eun- Ho were holding a joint exhibition of Joseon wh
ite porcelains. At that time he thought that the manufacturing skill of Joseon white porcelains was already lost. With this show, however, he came to realize that the tradition of Joseon white porcelain was still alive. Since then a big image of Joseon white porcelain has settled down firmly in his heart, pushing him toward the road for researching in those porcelains. At the age of 29, he finally quitted his teaching job in high school and moved into the place where his present pottery is located. On September 15, 1975, his new life started for the study of white porcelain. He began his learning under Baeksok Lee Jeong-Ha, one of the leading masters in Joseon white porcelains at that time due to his advanced knowledge and good virtue. He did his research with unusual zeal, working for many hours, days and nights. His early works, after passing through a hard examination, had the honor to be displayed in his first personal exhibition at the Shinsegae Art Gallery in March 1977. Song Ji-Young, the late director of the Korean Art and Culture Foundation praised highly of Hangsan, saying that "These are the masterpieces which were made possible by his unparalleled deep and clear insight and his physical and spiritual passion." Hangsan and His Mother
His ardent desire for Joseon white porcelain prevented him from continuing his teaching job, but it gave a great sorrow to his mother for a while because a teaching job was well respected by many people at that time while the job of a craftsman was not. His mother said in tears "After the war, I used to work as a peddler, selling rice cakes here and there. I have suffered all painsonly to support your study, and n ow you´re leaving to make p*e pots?" He showed his lamenting mother a nice picture of a celadon vase with a plumb-tree design from a history book for middle school and explained he was going to study art to create such pieces as a king would use. But with this excuse, he was even more scolded by his mother. She retorted, "What´s the difference? Is it different from a p*e pot when you sit on?" After that event, Lim´s mother had refused to greet him for 3 years. Nevertheless, she had never forgotten to cook good meals for him when he came to see her. Jinsa Master Craftsman of the Republic of Korea
Lim started to learn about making ceramics under a master of ceramics. All he could see was just a lump of clay. Nobody taught him how to mix the clay or how to glaze it. Several months had passed without any explanation. He had spent several months in a desert-like environment and he came to realize that the best way was to learn by himself. There was no other way but spending more time and making more practices at the kiln site for himself. Hangsan remembers his emotional experience when he started to learn about ceramics at Icheon in 1975. At first, I became interested in the brilliant red color of Jinsa on the blue celadons. It was even before I became attracted to the beauty of white porcelains. The scarlet, blood-color of Jinsa seemed to be burning itself. Looking at the color, I felt that my soul is drawn into the mysterious labyrinth of the universe. The single red spot on the humble and trivial piece of broken porcelain was enough to make me feel its active vitality. As time passed, his research on ceramics became more mature thanks to the assistance of porcelain master Baeksok Lee Jeong-Ha and many other friends. His specialty was in the oxidized copper and he did research on the subject for 30 years. He eventually became a master craftsman of Korea. Obtaining a patent on "The manufacturing method of oxidized copper and its colouring of Joseon white porcelain" (Patent No. 0506119), Hangsan has established his outstanding status of a pioneer of Jinsa color development. Hangsan´s Climbing Kiln,
a Traditional one Which Uses Korean Pine-tree as its Wood Hangsan makes his products in a traditional kiln using only Korean pine trees for fuel. He says, "There´s no other way to develop this verifiable transparent scarlet Jinsa colour except when we resort to the traditional way." As he says, Jinsa designs in his works shine like jewels, restoring the lost beauty of Joseon white porcelains. What should be the most urgent problem to solve for the Korean potterers of today among the many unsolved? Master Lim argues as follows : "The first thing is to establish his own artistic world through a deep study of design, including the study of glazes and patterns. After then, he needs to be able to produce high quality works. Finally he needs business skills to advertise his art sincerely and continuously. Hangsan could make an important visit to China in the 1990s, when the diplomatic relationship was not normalized between Korea and China. Visiting China as a member of the Korea Fine Art Association, he was greatly impressed by the Chinese art policy. I was surprised to find that they had fixed the official prices of products which should be respected in the world market for their famous artists, mostly belonging to the Arts Association, were officially fixed according to their size. by each items in the world market. At that time in Korea, even the selling prices of above mid-level artists´ products were not officially fixed yet in the world market. Viewing at the difference of national power between the two countries, I felt once again a keen necessity for an advertisement of our artists on the government level. If the government continues to protect and advertise its artists systematically, Hangsan believes that Korean potterers, before long, would be able to make a national benefit in the world market, keeping their own pride and dignity.
- From Kim, Jae-Kwang, com., The World of Ceramic Art (Seoul : Solgwahak Press, 2005)
