Since human beings discovered fire and discovered that clay becomes harder the more it''s baked, ceramics have been developed through humans’ endless exploration while forming a close relation with human life. Mankind’s great discovery like this, and their inquiring mind might be a source of arousing a new sense of challenge towards modern ceramics.
Glaze, which is called ‘Clothes of Ceramics’, is an important matter of concern for making the functionality and surface of ceramics elegant, and it has been ceaselessly researched since it first came into existence in Egypt in 5,000 B.C.; furthermore, glaze has become a splendid means of expression to ceramic artists even in modern ceramics, and it is regarded as a task that has to be continuously researched. Manifestation of glaze is completed only in the realm of nature, i.e. fire, away from human hands, so glaze is considered one of the biggest variables in the process of ceramic work. In such a supernatural process, glaze has implied various problems and possibilities over long periods of time; therefore, it might be safe to say that glaze has been developed through humans’ efforts to improve it while reflecting and systematizing such problems and possibilities.
The crawling is the one of the reaction to glaze having unique formativeness, in which glaze coheres with one another by surface tension, and then sinters in a state of lump, finally being cracked, or forming the glaze surface like water drops. However, such a crawling is utilized mostly for a formative work as an object to the exclusion of function because the phenomenon is accompanied by the limit that the original ground side is exposed to form the unique texture, but generally, it has not been used in the area of household ceramics which are linked to one’s real life.
This study, as the one on ceramic expression using the crawling, aims to suggest the possibility of a new crawling expression accompanied by the contrast between deep color senses given by glaze by maximizing the visual effect of the crawling phenomenon, and improving the limitations in texture through multiple glazing techniques, on the basis of which to develop the crawling into an expression medium which can realize the internal imagery symbolically in constructing this researcher’s world of works.
This study conducted the research in the scope of the intention of expressing magnesium-caused crawling as high fire porcelain by reinterpreting multiple glazing techniques, as well as production techniques of Jo-seon white porcelain and Go-ryeo celadon from this researcher''s viewpoint.
To this end, this study looked into the origin of glazing and multiple glazing, and techniques thereof, and intended to construct the theoretical background of this research by arranging the factor in causing the glaze crawling as well as principles & factors of crawling which has been systematized as an element of expression in modern ceramics. Also, this study intended to develop the merits by analyzing formative characteristics and limitations of the existing crawling expression, and to secure the validity of the research which can improve limitations, as well as to set a foundation for constructing this researcher’s world of works through the survey on the preceding works, for which a multiple glazing technique and crawling expressions were used, in a traditional & modern manner, and through the analysis of the history and tendency of the preceding works.

On the basis of such a theoretical background, this study intended to systematize crawling expressions through multiple glazing, and to concretely suggest differentiated representability through research works, to which systematized crawling expressions through multiple crawling were applied.
As for development of a research work,
(1) First, for the crawling expression as a pictorial element of expression, this study intended to realize the internal imagery morphologically by re-interpreting the traditionally-held 器(crockery)-shape through the canvas, and concurrently to confirm pictorial representability of internal imagery through multiple-grazing crawling on the surface.
(2) In addition, this study modeled the symbolic meaning of the cradle in order to express this researcher’s internal imagery as an object of the ceramic design area through a solid design, and this study intended to confirm the possibility as a ceramic design expression element by realizing the modeling of the symbolic meaning of the cradle through the symbolic meaning and expression elements inherent in crawling.
(3) Furthermore, this study tried to confirm the representability in various ceramic areas, for which modern ceramics aim for, by suggesting the applicability to industrial ceramics, which have been avoided as a ceramic pattern expression, by improving limitations held by the crawling phenomenon through the household tableware product design that can be applied to changing modern-style cultures, together with the rapidly changing modern civilization.
Through the production of a research work, this study was able to confirm that the systematized crawling expression connotes the pictorial representability, which can express this researcher’s internal imagery, and developmental possibility as a ceramic design expression element.

However, in case of the bowl-shaped external side, or the jar-shaped bottom side, which form an obtuse angle in reverse according to shape, this study could also draw the problem like the separation phenomenon, or the flowing-down of glaze.
This study realized a solution to such a problem by forming the crawling pattern on the side of a form which can accept a stable glaze reaction morphologically, but there still remains a task of having to develop the glaze into a more stable glaze expression by regulating the inversely proportional correlation between surface tension and safe seating power of the crawling glaze itself. This study is going to improve and complement unsettled aspects with focus on such limitations through the hereafter research as an extension.
This study intends to develop them into this researcher’s means of expression by re-interpreting the traditionally handed-down ceramics heritage modernly, and using them in line with the developed modern civilization other than development of a new type of glaze, or this researcher’s own inimitable originative technique development.
Through this research, this study was able to deduce the fact that development of an innovative, creative glaze effect becomes feasible through a new visual approach to what have been handed down to us traditionally other than the creation of something new, and that authentic development of the glaze effect starts from our respect for the history of ceramics which have been achieved for long periods of time.
Through consideration of ceramic expressions of the glaze crawling through multiple glazing in this research, this study is going to developmentally set up and realize my expression and formative directing point.