Without a doubt, the white porcelain of the Chosun period has long been viewed as one of the best representative art forms in terms of beauty and aesthetics of the Chosun literati. We feel the dignified beauty of that artistic era that the Chosun literati pursued through its characteristic shape and simple design.*br* This style of porcelain was produced by an official handcraft system throughout the entire Chosun dynasty. It began when an official kiln was established in Sawongwon (ie, "Palace Kitchen Management") during the 1460's. The production of ceramics was then supervised till 1884 by the royals who regarded the white porcelain as precious and important.*br* Selected from around the country, 380 public potters were charged with the production of royal ceramics in the official kilin. They made the official royal vessels, while other unselected potters made a living by crafting private wares in each hometown and paying cloth taxes as duties. Both artisan classes, royal and common, had to perform their duties as craftsmen for generations. They could not change their jobs legally.*br* Public potters were divided into several ranks according to their abilities and characteristics. The headmaster, called Pyunsoo (邊首). was selected from the potters to supervise the production and supply of the royal vessels. But, by the end of the 19th century, some merchants became Pyunsoo. As a result, the Pyunsoo and potters made not only royal wares but also commercial ones. Unfortunately, there are scarce records about these individuals except for the name of some Pyunsoo from the late 19th century.*br* Chosun potters who were low in social rank could not leave their names like a Japanese craftsman neither do business well like a Chinese potter. Summoned by the country, they did their best yet suffered from severe hardships. They did their best when firing only one humble bowl on an unknown mountainside. They also tried to make simple and noble vessels exhibiting the spirit of royals and literatie. For them, it was more valuable and important than making just commercial skilled wares.*br* The details which were surveyed could be chronologically summarized as follows: In the 17th century, the reform of the official kilns was accomplished in spite of successive invasions by Japan and Manchuria. Exclusive employment of potters and the permission of private firing of Punwon potters was executed. Potters overcame economic hardships owing to the patronage of royals and officers who encouraged and took care of them.*br* After the 18th century, commercial and decorative vessels became popular. Potters endeavored to improve their techniques for profitable manufacturing. Influenced by an economic boom, pottery shops also appeared. In addition, painting potters began to work at official kilns owing to the flourish of blue-and-white porcelain. In the latter half of the 18th century, private firing increased as the consumers ceramics market expanded. But these expansions in private firing did not lead to an increase in potter' income. On the contrary, an increase in the amount of work painfully burdened them more so than before.*br* In 19th century, the operation of Punwon became more difficult due to greater orders of extra fired ceramics and the wide-spread presence of intermediary exploitation. The financial troubles of the government made the financing of the Punwon difficult as time went by. Eventually, Punwon became privatized in 1884. Sawongwon entrusted 12 dealers with the right of conducting tributes. So, the official handcraft system was finally changed to a civilian one.