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Museum

From the Fire: Tradition Transformed

Introduction

Archaeological discoveries of Korean earthenware vessels dating as early as 8000-7000 B.C. E. give us clues that the Korean ceramic tradition is very old indeed. Ceramics evolved from the relatively soft reddish brown earthenware from the Neolithic and Bronze Ages to a gray stoneware thrown on a wheel and fired in a reduction atmosphere (less oxygen) at higher temperatures. The gray stoneware, influenced by the Han Chinese, was made Korean by its development into a hard, grey-blue stoneware.

Several periods in Korean history are especially important in the ceramic tradition transformed by the artists in this exhibition. First, is the Unified Silla Kingdom (668-935 C.E.), which utilized Buddhism to strengthen its consolidated kingdoms and established contact with other Asian and Middle Eastern countries. During the sixth and seventh centuries, Koreans used a lead glaze technique introduced from China that resulted in a greenish stoneware. The eighth century saw the introduction of popular stamped decorations, such as those used for Buddhist cinerary urns. During this period, ceramics were used for ritual, ceremonial, or utilitarian purposes. By the end of the Unified Silla Kingdom, Korean ceramicists were producing jagi (porcelain and celadon).

The Goryeo (Koryo) period (918-1392 C.E.), was called Korea’s Age of Enlightenment because Buddhism permeated every aspect of life, including ceramics. Many princes became Buddhist monks yet maintained a close relationship with the court so their power combined the spiritual and secular world. This period is known for its exquisite celadon ware (gray clay with green-colored glaze) reflecting aristocratic tastes; ceramics were no longer just functional, but were created for their aesthetic qualities such as grace and delicacy, signs of luxury and a lavish lifestyle. Goryeo celadon ware was used for incense burners, teapots, flower vases, brush holders, wine pitchers and other vessels shaped like plants and animals, incised and inlaid with a variety of designs such as clouds and cranes, waterfowl and willows, peonies, chrysanthemums, and lotus flowers. The Goryeo period’s luminous jade-green celadon is considered one of the finest achievements in ceramics. Goryeo celadon green is said to give “an impression of perfect tranquility and quietude . . . has a noble elegance . . . parallels the pure mind of Buddhism and the high state of Buddhist mercy . . .” (Kim, Jae-Yeol, in Goryeo Dynasty, pp. 233-4)).

After 100 years of Mongol invasion and rule (1270-1392), the Joseon (Choson) Dynasty (1392-1910) reacted against what they saw as luxuries and excess in the Goryeo period. Adopting Neo-Confucianism, with its philosophy of the pure mind, white porcelain became the symbol of the ideals of the state: purity, honor, order, and modesty. White porcelain was also painted. Punch’ong stoneware (grayish-blue stoneware decorated with white slip and light brown or light yellow in oxidation firing) was made more for ordinary people and was decorated by variety of methods, including inlay, incising, stamping, painting, and so on. Korean potters during this period worked toward perfection and purity and, at the same time, experimented with a looser application of slip, painted images, less perfect balance, and a wide range of techniques.

After Japanese occupation of Korea from 1910-1945, a slow recovery of both tradition and innovation began, primarily in universities in Korea. Contemporary ceramicists in this exhibition have developed their own interpretations of a long tradition of developing glazes, shaping clay body, and expressing a new ceramics tradition.

Tradition Transformed Ceramics

Hwang, Jong Koo

Inlaid Celadon Bottle

Inlaid Celadon Bottle with Fish Shaped Handles, 1995

Celadon clay body, black and white inlay with drawing in cinnabar

32.5 x 12 x 12 cm


Lotus Flower Tea Pot

Lotus Flower Design in Black and Red (Tea Pot), 1993

White porcelain clay body, black inlay

22 x 25 x 17 cm 


Kim, Soo Jeong

Life Lotus 1

Life-Lotus I, 1993

Celadon clay body

 44 x 38 x 26 cm


Life-Lotus 2

Life-Lotus II, 2003

Celadon clay body

12 x 38 x 38 cm 


You, He Ja

Talk of Flowers

Talk of Flowers, 2000

Stoneware clay body

45 x 23 x 23 cm 


Sitting by the Lakeside

Sitting by the Lakeside, 2000

Stoneware clay body

25 x 23 x 23 cm 


Joo, Ji Wan

Celadon Box Series

Celadon Box Series, 2001

Porecelain clay body 


Celadon Box Series 1

Celadon Box Series 1, 2001

Porcelain clay body

15.5 x 20.5 x 8.5 cm 


Kim, Yik Yung

Faceted Square Bowl 1

Faceted Square Bowl I, 2000

Porcelain clay body

22 x 53 x 32 cm 


Faceted Square Bowl 2

Faceted Square Bowl II, 2000

Porcelain clay body

16 x 48 x 33 cm 


Kwon Soon Hyung

Pulsation

Pulsation, 2002

Porcelain clay body

47.8 x 47.5 x 47.5 cm 


Nature

Nature, 2002

Porcelain clay body

26 x 28 x 28 cm 


Whang, Chong Nye

Bowl 1 (Whang)

Bowl I, 1995

Stoneware clay body

30 x 25 x 25 cm 


Bowl 2 (Whang)

Bowl II, 1995

Stoneware clay body

17 x 28 x 28 cm 


Yoo, Byung Ho

Flower 1 (Yoo)

Flower I, 2003

Punchong clay body

18 x 53 cm 


Flower 2 (Yoo)

Flower II, 2003

Punchong clay body

8 x 43 cm 


Kim, See Man

Floral Painting

Floral Painting in Iron Oxide, 2002

Punchong clay body

13 x 13.5 x 27.5 cm 


Blind Spot

Blind Spot, 2000

Punchong clay body

41 x 27 x 46 cm 


Park, Nae Heon

Lotus Flower and Fish I (i)

Lotus Flower and Fish I, 2002

Punchong clay body

21 x 21 x 48 cm 


Lotus Flower and Fish I (ii)

Lotus Flower and Fish I, 2002

Punchong clay body

27 x 27 x 47 cm 


Choi, Sung Jae

Meditation (Choi)

Meditation, 2002

Punchong clay body

30 x 36.5 x 16.5 cm 


Dawn (Choi)

Dawn, 2001

Punchong clay body

34.5 x 32 x 32 cm 


Lee, Jeong Do

Stamped and Inlaid Ritual Punchong Bowl

Stamped and Inlaid Ritual Punchong Bowl, 2002

Punchong clay body and celadon clay body

16 x 42 x 42 cm 


Stamped and Inlaid Punchong Jar

Stamped and Inlaid Punchong Jar, 1998

Punchong clay body and celadon clay body

35 x 38 x 38 cm


Lim, Jin Ho

Duk-Sal-Moon Pot

"Duk-Sal-Moon" Pot (Pot with Wooden Rice Cake Pattern), 2002

Celadon clay body

20 x 17 x 25 cm 


Duk-sal-moon Jar

"Duk-Sal-Moon" Jar (Jar with Wooden Rice Cake Pattern), 2002

Celadon clay body

33 x 25 x 28 cm 


Seo, Byung Ho

Remembrance 030701

Remembrance 030701, 2003

Celadon clay body and onggi clay body

69 x 60 x 60 cm 


Remembrance 030702

Remembrance 030702, 2003

Celadon clay body and onggi clay body

70 x 32 x 32 cm


Lee, Soo Jeong

Iron-Brushed Punchong Jar (Lee, 1)

Iron Brushed Punchong Jar, 2002

Onggi clay body

46 x 39 x 39 cm 


Iron-Brushed Punchong Jar (Lee, 2)

Iron Brushed Punchong Jar, 2002

Onggi clay body

53 x 25 x 25 cm 


Lee, Kang Hyo

My Garden (Lotus)

My Garden, 2003

Red clay body

26 x 30 x 30 cm 


My Garden (Fish)

My Garden, 2003

Red clay body

32 x 41 x 41 cm 


Roe, Kyung Joe

Punchong Lidded Jar

Punchong Lidded Jar, 2000

Ferric and porcelain clay body

28 x 30 x 30 cm 


Yeorimun Lidded Jar

Yeorimun Lidded Jar (Marbleware), 2001

Ferric and porcelain clay body

23 x 23 x 23 cm


Lee, In Chin

Bottle (Lee)

Bottle, 2000

Stoneware clay body

32 x 25 x 25 cm 


Large Vase (Lee)

Large Vase, 2000

Stoneware clay body

55 x 55 x 55 cm 


Cho, Chung Hyun

Retrospect on Onggi 1

Retrospect on Onggi I, 1999

Onggi clay body

46 x 15 x 13 cm 


Retrospect on Onggi 2

Retrospect on Onggi II, 1999

Onggi clay body

58 x 20 x 16 cm 


Choi, Suk Jin

Lunar Eclipse

Lunar Eclipse, 2001

Stoneware clay body

74 x 39 x 30 cm 


Ascension

Ascension, 2001

Stoneware clay body

79 x 30 x 40 cm 


Park, Kyoung Soon

Nature (Park)

Nature, 1997

Mixed clay body

65 x 15 x 63 cm 


Bird and Tree

Bird and Tree, 2001

Mixed clay body

60 x 20 x 70 cm 


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