Korean Pottery and Porcelain --------------------------------------- Korean ceramic history begins with the oldest earthenware from around 8000 BC. Early pottery was made during the Jeulmun and Mumun periods. The Three Kingdoms of Korea (57 BC-668 AD), namely Goguryeo, Baekje and Silla, provided the beginning of Korean ceramic history. A number of sophisticated statues of royal figures, guardians, and horses, used for domestic and imperial votive shrines, as well as for escorts of the dead in tombs of the nobles and kings, were thrown on potter's wheels, while others were formed using the traditional hammered clay and coil method. During the Unified Silla period (668–935) pottery was simple in colour, shape, and design. Celadon was subsequently the main production, with white porcelain or Baekja developing slowly in the 14th century, when the pace accelerated with new glazes, better clays, and variations of the white of different clays. Simultaneously, the Buddhist traditions demanded celadon-glazed wares, and cheongja pieces of celadon porcelain with more organic shapes drawing on gourds, with animal and bird motifs that evolved very quickly. In some ways these were over-decorated wares, using exaggerated forms, stylized repeating designs and a wide variety of organic patterns. Cheongja wares used refined clays with a bit of iron powder added, then a glaze with a bit of added iron powder added once again, then fired. Baekja wares came from highly refined white clay, glazed with feldspar, and fired in large regulated and clean kilns. After having succeeded the tradition of Goryeo baekja, white porcelain was produced in Joseon Dynasty. The baekja wares reached their zenith immediately before the Joseon Dynasty came to power. Fine pieces have recently been found in the area around Wolchil Peak near Mount Kumgang. The transitional wares of white became expressions of the Joseon Dynasty celebrations of victory in many pieces decorated with Korean calligraphy. Traditionally white wares were used by both the scholarly Confucian class, the nobility and royalty on more formal occasions. The works of the Goryeo Dynasty (918-1392) are considered to be the finest small-scale works of ceramics in Korean history. Key-fret, foliate designs, geometric or scrolling flowerhead bands, elliptical panels, stylized fish and insects, and the use of incised designs began at this time. Glazes were usually various shades of celadon, with browned glazes to almost black glazes being used for stoneware and storage. Celadon glazes could be rendered almost transparent to show black and white inlays. While the forms generally seen are broad-shouldered bottles, larger low bowls or shallow smaller bowls, highly decorated celadon cosmetic boxes, and small slip-inlaid cups, the Buddhist potteries also produced melon-shaped vases, chrysanthemum cups often of spectacularly architectural design on stands with lotus motifs and lotus flower heads. In-curving rimmed alms bowls have also been discovered similar to Korean metalware. During the Joseon Dynasty, (1392–1897) ceramic wares were considered to represent the highest quality of achievement from royal, city, and provincial kilns, the last of which were export-driven wares. This was the golden age of Korean pottery, with a long period of growth in royal and provincial kilns, and much work of the highest quality still preserved. Celadon, white porcelain, and storage pottery were similar, but with certain variations in glazes, incision designs, florality, and weight. The Ming influence in blue and white wares using cobalt-blue glazes existed, but without the pthalo blue range, and the three-dimensional glassine colour depth of Chinese works. Simplified designs emerged early on. Buddhist designs still prevailed in celadon wares: lotus flowers, and willow trees. The form most often seen was that of pear-shaped bottles. Notable were thinner glazes, and colourless glazes for buncheong or stoneware. Joseon White Porcelain representing Joseon ceramics was produced throughout the entire period of the Joseon dynasty. The plain and austere white porcelain suitably reflects the taste of Neo-Confucian scholars. Generally, the ceramics of this dynasty is divided into early, middle, and late periods, changing every two centuries. The wares began to assume more traditional Korean glazes and more specific designs to meet regional needs. The rise of white porcelain occurred as a result of Confucian influence and ideals, resulting in purer, less pretentious forms lacking artifice and complexity. For more information, you can visit: - http://en.wikipedia.org/wiki/Korean_pottery_and_porcelain - http://en.wikipedia.org/wiki/Dragon_jars_(Korean) - http://en.wikipedia.org/wiki/Jar_burial - http://en.wikipedia.org/wiki/Korean_influence_on_Japanese_culture#Pottery_and_porcelain

• published: 11 May 2015
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