|Succession of traditional pottery means to inherit meanings and minds contained in it besides its external forms. Korean tea crockery has been processed for a very long time along with tradition of tea culture. But, passing through a confusion period of the identity in the course of modernization, presently, simultaneously with activity to recover formality and meaning of traditional tea culture, effort to find out beauty contained in Korean tea crockery is being continued. According to prosperity and popularization of Korean tea culture, tea culture which has been led by a handful of men is being settled as universal culture formality. Information of ways or formality of drinking tea can be met easily through the Internet too. Manufacture and public demand of tea crockery are increasing steadily. Especially, recently, tea crockery called “tea bowls” heightens dignity to drink tea, as Korean traditional tea crockery. At the same time, as a reproduction object of traditional porcelain, it is recognized as essence by several potters. However, in producing tea crockery, ahead of awareness of Korean tea culture and traditional tea crockery, because Japanese tea ceremony and their preferred tea crockery form the mainstream, it is judged that formation of tea crockery considering sensitivity of modern people is necessary while reflecting aesthetic consciousness. In this study, by looking into the meaning of tea and tea culture, examining flows and current states of Korean tea culture, and analyzing tradition and traditional tea crockery of Korea through case investigation, they were referred to in the production of tea crockery containing Korean aesthetic consciousness beyond a concept of the reproduction. Expression techniques for producing tea crockery were tried to express traditional beauty awareness which is contained in tea crockery, focused on decoration technique of grayish-blue-powdered celadons. Through this, production of tea crockery considering tradition and modern beauty senses was intended. For the production of tea crockery, it was formed by using mixed soil of Sanchoeng. Using a transparent glaze, ash glaze, and shino glaze, formative effect by decoration technique of white clary was emphasized. If existing images of grayish-blue-powdered tea crockery were comparatively rough and coarse mostly, in this study, by expressing a clean transparent atmosphere and a light image based on modernity and abstractness of decoration technique of tea crockery, new possibility of formation of tea crockery was tried to propose.