The German sociologist and philosopher Theodor Ludwig Wiesengrund Adorno (1903-1963) clearly distinguished the difference between ‘works of art’ and ‘things’ and of the ‘transcendence’ inherent in things. Therefore, I ask, does transcendence exist in craftworks? When we look at the characteristics of craft closely, we can tell they have the characteristics of ‘things’ because they come into close contact with us and often have a function. Alternatively, if craftworks are considered ‘works of art’, they should (in theory) have ‘something spiritual’ that transcends ‘things’. However, those who do believe that a spirituality exists in craftworks can be found in the history of western art. In particular, the German philosopher Immanuel Kant excluded sensual desire and moral desire when judging beauty and said, “such a delight, therefore, always involves a reference to the faculty of desire” ¹ in The Critique of Judgement, while Théophile Gautier, a French novelist and pioneer of aestheticism who advocated “art for art’s sake”, argued in the preface of Mademoiselle de Maupin that all useful things are useless.² In the modern era of the West, craftworks were easily excluded from art as they were classified into things in which transcendence and spirituality, which are characteristics of art, and the virtuality (scheinbarkeit) that drives them, do not exist. Therefore, referring to the “aesthetic appearance (ästhetischer schein)” of tableware is apt to be seen as an excessive exaggeration, or a leap of logic. This is because tableware represents the characteristics of craft related to the functionality. The crafted works of Jiwoon Yang, a ceramic artist standing at the center of the “objet tableware phenomenon” in 21st century Korea, cannot be treated as ‘well-made things’ because a new aesthetic that transcends ‘well-made things’ is discovered within them. This essay is intended to examine the characteristics of this new aesthetic seen in the works of Korean ceramic artist Jiwoon Yang, underpinned by the theories of Friedrich Wilhelm Nietzsche and Takumi Asakawa.