tradition. The “quiet, serene beauty” of Korean ceramics can be viewed as an ironical “benefit” of the global isolation and technical simplicity of the Korean tradition (278). Moreover, this irony was not just a relic of the past, but is still very much alive in contemporary Korean ceramic art, in which the author has been an active participant (Epilogue, 278-283). In this sense, the author’s “Orient” is not for distancing and alienating the past. It rather connects the past with the present, in the same way that in this book she connects the artisanal practice of the traditional Korean potters with the contemporary scientific practices in which she specializes.

中文翻译：

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指控：来自朝鲜内部的禁忌故事 by Bandi

传统。韩国陶瓷的“安静、宁静之美”可以被视为韩国传统的全球隔离和技术简单性的讽刺“好处”（278）。此外，这种讽刺不仅是过去的遗物，而且在当代韩国陶瓷艺术中仍然非常活跃，作者一直是其中的积极参与者（结语，278-283）。从这个意义上说，作者的“东方”不是为了疏远和疏远过去。它将过去与现在联系起来，就像在这本书中她将韩国传统陶艺家的手工实践与她专攻的当代科学实践联系起来一样。