Tea House HADA recently embarked on a cultural journey through the Yeongnam region with Professor Yoon Yong-i, Distinguished Professor at Myongji University, tracing the enduring legacy of tea, ceramics, and Buddhist culture woven into the histories of Silla and Gaya.
More than a tour of historic sites, the journey invited us to explore how clay and fire, faith and daily life, craftsmanship and beauty intertwined within the cultural landscape of ancient Yeongnam. Walking through Gyeongju—where the spirit of Silla Buddhism continues to resonate—and onward to Gimhae and Goryeong, where the ceramic traditions and maritime networks of Gaya once flourished, we took time to quietly read the stories preserved within these ancient places.
Our journey began at Tapgol Valley on Namsan Mountain in Gyeongju. Often described as an open-air museum of Buddhist art, Namsan preserves some of the finest expressions of Silla Buddhism. Wandering its forested paths, where granite Buddhas and stone pagodas emerge naturally from the landscape, we reflected on the ways the people of Silla wove faith, nature, and artistic expression into a harmonious whole.
At the Namsan Museum, sculptures and stone relics excavated from the mountain offered further insight into the spiritual world and aesthetic ideals of the Silla people. The serene expressions of the Buddhas, the graceful balance of each sculpture, and the quiet precision of their carved lines revealed the values and beauty cherished more than a millennium ago.
We continued to Wolseong Palace, once the heart of the Silla capital, where the flow of Gyeongju's thousand-year history could still be felt. At Bunhwangsa Temple, we encountered the distinctive brick-imitation stone pagoda and reflected on the temple's significance during the reign of Queen Seondeok. At the site of Hwangnyongsa Temple, once the greatest state temple of Silla, we discussed the Buddhist ideals and international stature that it once embodied.
The second day led us to Gimhae and Goryeong.
At the Gimhae National Museum, we explored the culture of Gaya through its iron technology, maritime exchange, pottery, and everyday life. Distinct from Silla, Gaya's history revealed a society shaped by dynamic trade and openness to the wider world.
At the Royal Tomb of Queen Heo, we revisited the founding legends of Gaya and the symbolism of its connections beyond the Korean Peninsula. Later, at the Daeseong-dong Tomb Museum, excavated tombs and artifacts offered a glimpse into Gaya's ruling elite, its funerary traditions, and the remarkable sophistication of its ceramics and iron culture.
In Gimhae, we visited the studio of ceramic artist Lim Man-jae at Jeonghoyo.
Flowers quietly bloomed along the entrance, welcoming us as though they marked the threshold to the artist's creative world.
Nearby stood a small house that the artist had built himself. Modest and unassuming, it felt less like a retreat from daily life than an extension of it—a place where simplicity carried greater meaning than ornament, and where presence mattered more than possession. It seemed as though the quiet rhythm of working with clay and fire continued to flow through the space itself.
There, artist Lim prepared a bowl of matcha for us. More than a gesture of hospitality, the tea became an expression of generosity. In that shared moment, the hands that shaped clay, the heart that prepared tea, and the spirit of welcoming others came together as one. As we lingered in that peaceful space, we caught a glimpse of how the enduring spirit of clay and tea continues to live through the daily practice of a contemporary ceramic artist.
Our final destination was the ancient tumulus cemetery of Jisan-dong in Goryeong.
Walking along the ridges lined with the royal tombs of Daegaya, we reflected on how ancient people understood life, death, and remembrance. The expansive landscape itself seemed to preserve the quiet dignity of those who had come before.
One of the most memorable aspects of the journey was Professor Yoon's thoughtful interpretation of each site.
Artifacts and ruins speak for themselves, yet when viewed within their historical and cultural context, they reveal stories far richer than appearances alone. Through Professor Yoon's guidance, we came to understand that these places are not simply remnants of the past, but enduring records of the aspirations, beliefs, and lives of the people who created them.
Tea and ceramics have always belonged to everyday life, yet within them reside the aesthetic ideals and spiritual values of each era.
At Tea House HADA, we hope to continue creating opportunities to discover the many stories and traditions held within our cultural heritage—one cup of tea at a time, and within the quiet rhythm that tea invites.
Our sincere gratitude goes to Professor Yoon Yong-i, ceramic artist Lim Man-jae of Jeonghoyo, and everyone who joined us on this meaningful journey.
睱 茶