Korean Pottery: Categorized by Periods

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[edit] A Retrospective Study

Different periods of Korean history can be chronicled, and are reflected in the Korean art of pottery making. Much of what was, has been lost in history. Wars and simply the passage of time have taken a tremendous toll. Archeologists, Historians and Art Collectors have spent much effort on the location and preservation of these significant works of Korean creativity. It is because of these individuals that many fine examples of Korean pottery have managed to survive to the present day. In museums and private collections we are able to witness the development and transformation of this art, from the simple comb pattern pottery of the Neolithic age more than 3,000 years ago to the sophisticated ceramics of the Joseon dynasty ending in the early part of the twentieth century.

Korean ceramics have been long valued and sought after in the West for their artistic beauty and craftmanship. The celebrated French courtesan, Madame Pompadour (1721 – 1764) had a Korean vase in her collection [1].

Besides the larger Korean ceramic collections on the peninsula [Korea] and Japan, American collections, both private and public, are by far the greatest in quantity. American interest in the ceramic arts of Korea date to 1883 when sixty examples of pottery were donated to the Smithsonian in Washington D.C. Following liberation, the pace of ceramic collecting rapidly incerased. Now in almost every major American city, where there is an art museum concerned with Asia, some Korean ceramics will be represented[2].

What follows is an exhibition that provides numerous examples for the study of Korean pottery, representing all the major periods in Korean history. The Three Kingdoms of Korea, the Silla period, the Koryo dynasty and the Joseon dynasty. When researching the different periods, one will find that the Silla period is sometimes referred to as Shilla, the Koryo period referred to as Goryeo or Goguryeo, and the Joseon, Choson, Chosun.

The Periods

Three Kingdoms of Korea (57 BC–668 AD): Old Silla, Koguryo and Paekche

Silla (668–935):

Koryo dynasty (918–1392): Over the years Westerners have taken a keener interest in Koyro celadon wares than other styles of Korean ceramics. The first US exhibition was in 1957 followed by one in Europe in 1961. However, the 1969 exhibition of Five Thousand Year of Korean Arts in the US had a lasting impact while in Europe a 1984 exhibition helped to further promote Korean ceramics[3].

Joseon dynasty (1392–1910): The potters of the age, prohibited by austere Confucian precepts, were able to produce only wares for everyday use, such as rice bowls and jars for pickled foods. Even within this narrow framework, however, they displayed an instinctive knowledge, that regularity and refinement are not the only criteria for beauty. Their products are often warped and asymmetric, but it is for this very imperfection that they have come to be highly prized. The decorative motifs are simple and unpretentious, ranging from flowers and animals to abstract designs[4].

The Three Kingdoms (57 BC–668 AD): Old Silla, Koguryo and Paekche

1. 2. 3.

( 1.2.3.) Horse figures from the Three Kingdoms era. Horses with gray glaze but reddish finish, possibly related to burial. They are folk like horses that were probably placed in a tomb as conveyance for whomever owned it. Also possibly used as toys. They show signs of burial and numerous breaks that have been glued together like the head to the body. This is typical. Other areas such as the legs have been glued. Very early (200 BC–300 AD). Similar examples of these horse figurines can be found in 2000 Years of Korean Arts[5]. Horse statuettes have been worshiped in remote places in quite recent times as protectors of the villiage and horses probably had some religious significance though this must have been local judging by the rarity with which they appear in Silla art [6].

Unified Silla (668–935)

4. 5. 6. 7.

( 4.) Large Silla Dynasty Urn: Measuring 12" high and 12½" in diameter at the top. This example closely resembles a Pedestal Bowl found in Korean Ceramics, An Arts Variety, by Gregory Henderson. There it is described as a pedestal bowl or stand typical of no other Korean region than the southeast coast. It could have been used for presenting or dedicating a large quantity of rice[7]. ( 5.) Large Silla Storage Jar: A grain/food container. Rare container in the traditional gray ware but with a mossy-green glaze. Sometimes referred to as a "Footed Jar"[8]. ( 6.) Silla Urn/ Storage Jar: Vase-shaped with five rectangular openings along the high base with unusual decorative detail but common in early Korean work. The rectangular perforations are presumed to have helped to lighten the weight of the ware (which already had thin walls) and prevent it from cracking while in the kiln[9]. ( 7.) Crematory Urn: Unglazed smooth surfaced burial urn. Buddhism became the official religion of Silla in 528 A.D. and cremation became popular around the middle of the seventh century. The huge mounded tombs gave way to simple burial of cremated bones in an urn between 550-650 A.D. One piece of the same style which is (or was) in the Ducksoo Palace (Deoksugung) museum collection is illustrated in Vol. 5 of the Chosen Koseki Zufu[10].


8. 9. 10. 11.

( 8. ). ( 9. ) A Footless Cup: Such cups have a thin, upright rim convienient for drinking[11]. The unique feature is the handle. ( 10. ). ( 11. ) Mounted Cups. Gray stoneware. A comparable piece excavated from Tomb No.116, kyo-dong, Ch'angnyong-gun, Kyongsang Namdo from the Kaya period (Gaya confederacy) 5th-6th century can be found in The National Museum of Korea catalog[12].


12. 13. 14.

( 12. ) This large food container with a rounded base was probably made to rest on some kind of stand. The design on the piece makes it rather attractive as well as utilitarian. ( 13. )This Silla piece measures 6 ¼”h. and 5” in diameter with the addition of a projecting spout. It was probably used to carry cool water to a work place such as a rice field. A spout plug was usually made by wrapping a stick or stone with a piece of cloth to prevent spilling. A very functional piece.Ref.: Korean Pottery,Gregory Henderson. ( 14. ) The cup in the center was probably used to contain food since it was apparently made to accommodate a fitted cover. The cups on either side were made to hold a liquid. The rims of these cups were designed to provide easy access for drinking.


Koryo (918–1392)

15. 16. 17. 18.

( 15. ) Inlaid Celadon Bowl: The oldest datable inlaid celadon was excavated from the tomb of Mun Kong-yu who died in 1159 (thirteenth year of the reign of King Ye-jong) in Kaep'ung-gun, Kyongi Province. It can be assumed that between the rule of King Injong and King Ye-jong inlaid celedon techniques were discovered and quickly became popular among the nobility. The tomb excavation of King In-jong who died in 1146 revealed no inlaid pottery[13]. ( 16. ) Incised Celadon Bowl: Arabesque designs were also common for incised celadon pieces. Incised examples have been found in late 12th century tombs, when it was known that inlaid celadons were much more popular. Six examples of Incised and Inlaid Celadon Bowls can be seen in Korea's Pottery Heritage[14]. ( 17. ). ( 18. ).

19. 20.

( 19. ). ( 20. ) Bowl, 13th”/14th century. This bowl, from the Koryo period, is a traditional shape of that period. It measures 5 ½”diameter. It has no decoration other than the color of the crackled, green, celadon glaze. There is a spur mark on the surface of this piece, but what would be considered a blemish in the West, often has a special appeal in the Far East where oddness is appreciated for its own sake and equated with character and pathos. Ref: Korean Arts, Vol. Two, 1961.

Joseon (1392–1910)

21. 22. 23. 24.

( 21. ) Wine Bottle (or Vase) measures 13” high x 6 7/8” in diameter near the base. Bottle has a bulbous base tapering up to a flaring neck. There is a design drawn with lotus blossom and foliage around the entire vessel, a diaper pattern near the neck , softly done in lightish tonality and the effects of burial noticeable where the glaze is eaten away but the vessel is intact. Joseon period of 15th century. Ref.:John Gilmore Ford,ASA. . ( 22. ). ( 23. ). ( 24. ).

25. 26. 27. 28.

( 25. ) The water dropper was made for the scholar who required carefully controlled drops of water to mix the ink from his ink stick on his ink slab when he wrote brush letters in Chinese script (East Asian calligraphy) or painted. No such objects were known from Silla art[15].( 26. ). ( 27. ) Black Koyro Wine Bottle, 13th century,measures 6 ½” high and 5 ¼” in diameter. Black Koryo is a rare and exotic cousin of the celadon for the black is produced by pouring a celadon glaze over a brown slip, achieveing, not only a rich black hue, but beautiful modulations in the drip as well. It is probable that there are not over 100 known pieces, probably fewer. Ref.: Korean Ceramics,Gregory Henderson.. ( 28. ) This bowl cover is decorated with two peonies and their accompanying foliage. A long life symbol is painted in the center. This cover, when turned over was probably used as a food container or dish. It was a functional item with a dual purpose.

29.30. 31. 32.

( 29.30.) Both of these pieces were featured in Sotheby's, Korean Works of Art, New York catalog, June 5, 1992, [16] and were described as follows: Two Blue and White Globular Jars, Choson Dynasty, 19th Century, each of globular form, one painted with peony stems extending around the sides, below a collar of demi-florets and double-line borders encircling the short flared lip, crack, restorations; the second with four evenly spaced circular shou medallions on the shoulders, below a collar of demi-florets and double line borders encircling the short neck, chips ,crack. Heights 5 5/8 and 5 1/8 in. ( 31. ) Wine Bottle, 14th century. This early Yi bottle measures 10 ½” high and 5 ½” in diameter at the widest part. It is glazed in a greenish/grey celadon. The design, a crudely executed depiction of a three-leaf branch, is painted in an iron glaze. The shape is unusual and marks the trend away from the established tradition. It is a well balanced vessel, notable for its functionality and simplicity of design. Ref: Korean Arts, Vol Two, 1961. . ( 32. ) Along with the brush holder and ink slab, the water dropper was the scholar's most important paraphernalia. One hole was used to control the water drops on the ink slab[17].


33. 34. 35. 36.

( 33. ). ( 34. ). ( 35. ). ( 36. ).

37. 38. 39. 40.

( 37. ) Punchong Dish - 14th/15th century. This small dish measures 5in. in diameter and is decorated with a circle of the rope curtain design. This pattern was very prevalent during the early Joseon period. The term Punchong is used in Korea to describe what the Japanese call mishima. It is the Korean rendering of the Chinese fen ching, signifying pale blue or green and is appropriate in so far as the glaze is of celadon type. That is, it contains iron, and therefore has a tendency to assume a greenish or bluish tone when the vessel is fired in a reducing atmosphere. Most of the Punchong wares have a faint bluish or greenish tinge arising from this cause. Ref: Korean Arts,Vol Two,1961.. ( 38. ). ( 39. ). ( 40. ) Punchong Dish – 14th/15th century. This small dish measures 5in. in diameter and is decorated with a circle of flower heads. The term Punchong is used in Korea to describe what the Japanese call mishima. It is the Korean rendering of the Chinese fen ching, signifying pale blue or green and is appropriate in so far as the glaze is of celadon type. That is, it contains iron, and therefore has a tendency to assume a greenish or bluish tone when the vessel is fired in a reducing atmosphere. Most of the Punchong wares have a faint bluish or greenish tinge arriving from this cause. Ref: Korean Arts, Vol Two,1961..

41. 42.43. 44.

( 41. ). ( 42. ) Four rice cake stamps, 19th century. One of the most common items of Joseon dynasty ceramics was the rice cake stamp. At least one of these was found in almost every household throughout Korea. The patterns of these stamps were basically geometric or floral. Ref: Korean Folk Paintings, Emillle Museum, Seoul,Korea.. ( 43. ). ( 44. ).

45. 46. 47. 48.

( 45. ) Stoneware Offering Plate, 17th century. This ceremonial offering stand measures 3 ½” high and 8 ¾” in diameter. It has no decoration and is of light grey-green glaze. It was used in religious ceremonies to offer up rice cakes or other food. This piece is well designed for its purpose. Re: Five Centuries of Korean Ceramics by Goro Akaboshi and Heiichiro Nakamaru. ( 46. ) Low bowl, 17th century. This bowl measures 41/4 in. high and 4 ¾ in. in diameter. It has ten faceted sides and is of a gray/white glaze with underglaze blue decoration of a leaf pattern. Ref: The John Fox collection, Korean Ceramics, Syracuse,University. ( 47. ). ( 48. ).

[edit] See also

[edit] External links

[edit] References

  1. ^ Facts about Korea, Thirteenth Revised Edition 1977, Published by Korean Overseas Information Service, Ministry of Culture and Information, Republic of Korea, printed by Korea Information Service, Inc, Gwanghwamun P.O. Box 523, Seoul, Korea, p. 139.
  2. ^ Edward B. Adams, Korea's Pottery Heritage Vol. II Seoul International Publishing House. Copyright 1989, p. 9.
  3. ^ Edward B. Adams, Korea's Pottery Heritage Vol. II Seoul International Publishing House. Copyright 1989, p. 9.
  4. ^ Goro Akaboshi and Heiichiro Nakamaru, Five Centuries of Korean Ceramics, Pottery and Porcelain of the Joseon Dynasty. Book translation from the Japanese of Chosen no Yakimono: Richo published by Tankosha Kyoto 1965.
  5. ^ 2000 Years of Korean Arts, The National Museum of Korea Press, 1973, p. 86, 87, and 88 in plates 133, 136,137, and 141.
  6. ^ Korean Ceramics, An Arts Variety, by Gregory Henderson, Ohio State University Press , 1969, p. 25, illustration caption 20.
  7. ^ Korean Ceramics, An Arts Variety, by Gregory Henderson, Ohio State University Press , 1969, p. 22, illustration 11.
  8. ^ The John R. Fox Collection of Korean Ceramics, Syracuse University, The School of Art, Syracuse, New York 13210, copyright 1965, p. 29, 85, illustration 62.301.
  9. ^ A Handbook of Korea, Korean Overseas Information, Fifth Edition September 1983, Samhwa Printing Co., Ltd, CPO Box 1307, Seoul, Korea, p. 260.
  10. ^ Korean Ceramics, An Arts Variety, by Gregory Henderson, Ohio State University Press , 1969, p. 30, illustration caption 37.
  11. ^ Korean Ceramics, An Arts Variety, by Gregory Henderson, Ohio State University Press , 1969, p. 28, illustration and caption 29.
  12. ^ The National Museum of Korea, First published in 1964, Fourth and revised edition 1972, Printed by Pyung Who Dang Printing Co., p. 40, plate 76.
  13. ^ Edward B. Adams, Korea's Pottery Heritage Vol. II Seoul International Publishing House. Copyright 1989, p. 125, No. 58.
  14. ^ Edward B. Adams, Korea's Pottery Heritage Vol. II Seoul International Publishing House. Copyright 1989, p.  70,71.
  15. ^ Korean Ceramics, An Arts Variety, by Gregory Henderson, Ohio State University Press , 1969, p. 40, illustration 70.
  16. ^ Sotheby's, Korean Works of Art, New York, June 5, 1992, plate 31.
  17. ^ Edward B. Adams, Korea's Pottery Heritage Vol. II Seoul International Publishing House. Copyright 1989, p. 120, No. 40 .
  • Rene-Yvon Lefebvre d' Argence, 5,000 Years of Korean Art Asian Art Museum of San Francisco. Library of Congress Catalogue Number 79-84234. Samhwa Printing Company., Ltd. Korea 1979.
  • Goro Akaboshi and Heiichiro Nakamaru, Five Centuries of Korean Ceramics, Pottery and Porcelain of the Joseon Dynasty. Book translation from the Japanese of Chosen no Yakimono: Richo published by Tankosha Kyoto 1965.
  • John Gilmore Ford, ASA, Senior Member of American Society of Appraisers, Baltimore, Maryland.
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