A coarse 귀않 (gwiyal) brush leaves its own streaks; we keep the white where the bristles fell, not where a designer wished it.
Sgraffito lines scrape the chalky slip away to the gray-green clay beneath — the drawing is a wound, not a print.
The glaze stays celadon-adjacent and matte; a porcelain sheen would lie about a stoneware kiln in early Joseon.
Folk potters drew fish and lotus in a few loose strokes — spontaneity over symmetry, every piece off-center on purpose.