Antique Korean Celedon Tea
Pot With Hand Painted Cranes
USD $150.00
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HERE’S A 13” SIGNED ORIGINAL VINTAGE HANDMADE MODERN POST-WAR KOREAN “GORYEO CELADON REVIVAL” POTTERY / PORCELAIN EWER OR WINE PITCHER WITH STOPPER-LID THAT DISPLAYS A DOUBLE-GOURD SHAPED FORM WITH CURVACEOUS HANDLE AND LONG SPOUT COVERED IN THE GORYEO BLUISH-GREEN CELADON GLAZE AND THEN DECORATED WITH BLACK AND OFF-WHITE GLAZES RENDERED AS FLYING CRANES AND CLOUDS!
Please Note: What is commonly referred to as the “Goryeo Celadon Revival” began in post-war Korea during the mid 1950s, reached its first extensive international success during the 1970s and 1980s primarily with Japanese patronage, and today can count on several hundred artists adding to this ceramic legacy. The city of Icheon, located in Gyeonggi, South Korea’s most populous province, is well-known for the celadon pottery produced during the Goryeo dynasty (918-1392). The city’s Ceramics Village, a popular attraction for tourists, has about 80 ceramic studios (there are more than 300 citywide) where artists still work using traditional methods of the region, making decorative and utilitarian celadon wares. Every spring, Icheon hosts Korea’s largest annual ceramics festival.
Dimensions: The ewer / wine pitcher being sold here measures approximately thirteen inches (13”) in height, six inches (6”) across the body of the ewer at its widest point, three quarters of an inch (3/4”) in diameter across the top, eight and three quarters inches (8 ¾”) across the from the spout to the opposing outside of the handle, by three and one quarter inches (3 1/4”) in diameter across the base.
Signature: Signed on the underside bottom with a black underglaze multi-character artist or studio mark. There is also a red underglaze seal or chop mark. Lastly, there is a paper label that reads: “MADE IN KOREA” Please Note: There is no identification guide for these markings / signatures. However, a few of the artists who created or who are still creating “Goryeo Celadon Revival” pottery include: Cho Ki-jung, Kim Hak-seung and his wife Cho Jung-soon, Joungoo Ham, Boksik Ji, Mae Cha, Woo Jong Il, Han Ki Woong, Woon Yung, Myung Sung, Hae Seok, Hae Chung, and there are many, many others!
Condition: Excellent and clean condition – absolutely beautiful! And Please Note: The crazing within the glaze is natural to the firing process.
Please scroll down to read some history about Goryeo Celadon pottery.
kilns. We see in early Goryeo examples a conscious emulation of certain stylistic features of Chinese wares—such as the shapes of bottles and bowls, and standard decorative motifs including lotuses, peonies, flying parrots, and scenes of waterfowl by the pond.
By the mid-twelfth century, Goryeo potters and patrons turned to articulating native tastes. This coincided with the consolidation of major celadon industries near the southwestern coast of the peninsula, in Jeolla Province—the Buan and Gangjin regions especially. The latter remains, today, the center of modern celadon production and of revivals of Goryeo traditions. The culmination of Goryeo celadon can be seen in inlaid (sanggam) celadon, a rarity in China. The delicate technique of sanggam involves etching the desired motifs on the dry clay body and filling in the carved space with black and/or white slip, after which the translucent glaze is applied and the vessel fired. The best of Goryeo inlaid celadon is breathtaking in its splendid presentation of clean form, vibrant design, and subtle yet alluring color combination of white, black, and green.
________________________________________
Citation
Lee, Soyoung. “Goryeo Celadon.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000– (October 2003)
Further Reading
Gompertz, G. St. G. M. Korean Celadon: And Other Wares of the Koryô Period. London: Faber and Faber, 1963.
Itoh Ikutaro. Korean Ceramics from the Museum of Oriental Ceramics, Osaka. Exhibition catalogue. New York: Metropolitan Museum of Art, 2000.
Pak, Youngsook, and Roderick Whitfield. Earthenware and Celadon. London: Laurence King, 2002.
Item id: 1426
Color: Black, Green, White
Origin: Asia • Asian
Purpose: Pitchers, Ewers
Item type:
Please Note: What is commonly referred to as the “Goryeo Celadon Revival” began in post-war Korea during the mid 1950s, reached its first extensive international success during the 1970s and 1980s primarily with Japanese patronage, and today can count on several hundred artists adding to this ceramic legacy. The city of Icheon, located in Gyeonggi, South Korea’s most populous province, is well-known for the celadon pottery produced during the Goryeo dynasty (918-1392). The city’s Ceramics Village, a popular attraction for tourists, has about 80 ceramic studios (there are more than 300 citywide) where artists still work using traditional methods of the region, making decorative and utilitarian celadon wares. Every spring, Icheon hosts Korea’s largest annual ceramics festival.
Dimensions: The ewer / wine pitcher being sold here measures approximately thirteen inches (13”) in height, six inches (6”) across the body of the ewer at its widest point, three quarters of an inch (3/4”) in diameter across the top, eight and three quarters inches (8 ¾”) across the from the spout to the opposing outside of the handle, by three and one quarter inches (3 1/4”) in diameter across the base.
Signature: Signed on the underside bottom with a black underglaze multi-character artist or studio mark. There is also a red underglaze seal or chop mark. Lastly, there is a paper label that reads: “MADE IN KOREA” Please Note: There is no identification guide for these markings / signatures. However, a few of the artists who created or who are still creating “Goryeo Celadon Revival” pottery include: Cho Ki-jung, Kim Hak-seung and his wife Cho Jung-soon, Joungoo Ham, Boksik Ji, Mae Cha, Woo Jong Il, Han Ki Woong, Woon Yung, Myung Sung, Hae Seok, Hae Chung, and there are many, many others!
Condition: Excellent and clean condition – absolutely beautiful! And Please Note: The crazing within the glaze is natural to the firing process.
Please scroll down to read some history about Goryeo Celadon pottery.
kilns. We see in early Goryeo examples a conscious emulation of certain stylistic features of Chinese wares—such as the shapes of bottles and bowls, and standard decorative motifs including lotuses, peonies, flying parrots, and scenes of waterfowl by the pond.
By the mid-twelfth century, Goryeo potters and patrons turned to articulating native tastes. This coincided with the consolidation of major celadon industries near the southwestern coast of the peninsula, in Jeolla Province—the Buan and Gangjin regions especially. The latter remains, today, the center of modern celadon production and of revivals of Goryeo traditions. The culmination of Goryeo celadon can be seen in inlaid (sanggam) celadon, a rarity in China. The delicate technique of sanggam involves etching the desired motifs on the dry clay body and filling in the carved space with black and/or white slip, after which the translucent glaze is applied and the vessel fired. The best of Goryeo inlaid celadon is breathtaking in its splendid presentation of clean form, vibrant design, and subtle yet alluring color combination of white, black, and green.
________________________________________
Citation
Lee, Soyoung. “Goryeo Celadon.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000– (October 2003)
Further Reading
Gompertz, G. St. G. M. Korean Celadon: And Other Wares of the Koryô Period. London: Faber and Faber, 1963.
Itoh Ikutaro. Korean Ceramics from the Museum of Oriental Ceramics, Osaka. Exhibition catalogue. New York: Metropolitan Museum of Art, 2000.
Pak, Youngsook, and Roderick Whitfield. Earthenware and Celadon. London: Laurence King, 2002.
Item id: 1426
Color: Black, Green, White
Origin: Asia • Asian
Purpose: Pitchers, Ewers
Item type:
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