Korean pottery Essay

This essay has a total of 1122 words and 6 pages.

Korean pottery

From 10,000 to 6,000 years ago, the mankind started to make earthenware and use them. In
Korea, they have used earthenware from 78,000years ago-the New Stone Age. As time went by,
glazes were sometimes employed. The firing temperature varied between 500 and 1,100
degrees. Earthenware was used in Korea until the early Koryo dynasty (10-11th centuries).
Earthenware and bronze developed in parallel through the prehistoric age, and then the
periods known in Korea as Silla and Kaya (from 57 BC until the 10th century), and Koryo
(10-14th centuries). The earthenware pottery of Silla and Kaya is particularly noted for
its formal qualities. The earthenware was used for utilitarian vessels, which were
sometimes modelled into the shape of people, houses, and animals. Among the various pieces
surviving from this period, we can find vessels expressing vividly the characteristic
spirit of the Korean people, a spirit that has remained alive through the centuries until
the present day. The facial expressions are comically exaggerated, we find amusing
caricatures, as well as bold sexual features suggesting use in fertility rites, a variety
of concise artistic details indicating a rich imagination. Through such works the image of
our ancestors of centuries past has been transmitted to us today. In 9th century
Silla(Korea’s earliestdynasty), they have had great opportunity to trade with China and
accepted manufacturing technology of Celadon.

In China, jade signifies the true gentleman, wealth and honor. Therefore jade was popular
for use in objects enclosed in tombs. The ruling classes were eager to possess jade, but
it was too little for their needs, and very expensive. Therefore artisans tried to create
jade from clay, and the result was the pottery known in the West as Celadon. In Korea,
Chinese celadon pottery has been found in tombs dating from the 4-6th centuries,
suggesting that the royal family of the period imported celadon from China as a substitute
for jade. In 9th century China, the practice of Zen Buddhism spread among the powerful
families, who considered that drinking tea helped clear the mind while sitting in
meditation. Celadon was used to make the tea cups, and this seems to be the first time
that it was employed for vessels in ordinary use. The cup used for drinking tea was highly
valued, some were worth more than gold. Zen Buddhism entered Korea toward the end of the
Unified Silla Dynasty, in the 8th century. Monks returning from China brought Chinese
tea-cups to Korea. When the Koryo Dynasty came, Koreans began to manufacture their own
celadon vessels, beginning in the later 10th century.

Research was undertaken in order to make even better celadon, using the best clays.
Originally, celadon was dark in color, varying between brown and dark green, the works
were plain, restrained, unadorned. In the early 12th century, decorated celadon wares
began to appear.

At that time, the Buddhist visions of Paradise were immensely popular and the pottery of
later Koryo times expressed the people's longing for a symbolic world of Eternity, through
such symbols as clouds and cranes, or the lotus flower so central to the world of Zen
Buddhism, as well as willows, and ducks playing in water. In a similar spirit, wild
chrysanthemums express calmness and solitude. When these symbols took form on the surface
of delicate green jars and bowls, the result was some of the most beautiful pottery in the
world. The disappeared from the end of Koryo dynasty. In the course of from celadon to
white ware, there was the stoneware pottery known as "PunChong.” Painting makes
“Punch’ong” in a white slip over a grayish-green glaze. It is unique to Korea. In the 14th
century Buddhism, with its otherworldly focus on the life to come, gave way to the
practical this-worldly teachings of Confucianism. The old celadon wares lost favor, since
there was a strong desire for novelty in a new religious atmosphere.

As society changed, pottery also changed and grew plainer, better adapted for use in
practical life; at the same time, the patterns grew freer. Techniques of expression were
simplified and pottery was produced in large quantities. The forms of pottery became more
popular and the result was "punch'ong ware".

With its often humorous and entertaining images and its free, unrestrained forms,
Punch'ong ware some of the most original expressions of the Korean sense of beauty.

The potters who produced these wonderful works transmitted their skills from father to
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