Korean celadon glazes remained relatively constant in visual appearance and technology throughout the Koryo dynasty (A.D. 918-1392) in contrast with the diversity found in Chinese celadons. In this paper the potential interactions of these traditions are explored. In their early phase (11th century), Koryo Dynasty celadons could not be made to replicate the appearance of Chinese Yue and Yaozhou wares for technological reasons even though the glaze compositions are very similar. A glaze layer with partly dissolved quartz, various black particles, bubbles, and only a minute amount of anorthite at the glaze-body interface are responsible for the unctuous, translucent textural depth. With the advent of inlay (sanggam) in the mid-twelfth century, a distinctive Korean technology was developed. This outstanding green-glazed ware was capable of retaining a hard-edged precision necessary to render complex inlaid patterns. The white inlay is composed of a porous mixture of crushed quartz rock and clay, which permitted and promoted the intentional control of crazing as a design element. In the 15th century white porcelain was introduced and a slip-decorated ware with greenish glaze, known as punch'ong became popular. Clay was used for the white inlays.