Page 38 - Symbols_of_Identity_Korean_Ceramics_from the Chang Collection

16. his bowl with curved sides is decorated only in white
Bowl Tinlay. The majority of the designs are stamped, and the
Second half of 13th–first half of 14th century, Goryeo overall impression is one of declining quality when com-
TL results: fired between 600 & 1,000 years ago pared to inlaid celadon wares of the twelfth century, reflect-
Stoneware with inlaid designs under celadon glaze ing the twilight years of the Goryeo dynasty. The inside of
H: 7.1 cm, W: 19.4 cm the bowl, near the lip, is decorated with a narrow band of
stylized grass pattern followed by another narrow band of
stylized clouds. The main register depicts four phoenixes
flying amid larger stylized clouds. The central medallion is
composed of a single chrysanthemum encircled by double
rings and a ring of yeo ui (Ch: rúyì) heads. The outside wall
is decorated with four medallions of chrysanthemums encir-
cled by double rings. The medallions are bordered by parallel
lines, above and below, that run along the circumference of
the bowl. The footrim is largely chipped; the base is glazed
and has adhesions of kiln grit. The glaze is pock-marked and
firing cracks appear on the lip, outside wall, and base.

The footrim was glazed, but much of the glaze has chipped,
revealing the unoxidized, gray body material. The damage
was due to glaze fusing to the surface on which it was set
during firing. Therefore, the bowl had to be pulled off the
surface once the glaze cooled and solidified. By the end of
the thirteenth century, the execution and design of inlaid ce-
ladon becomes more haphazard and mechanical when com-
pared to earlier examples (compare with cats. 17 & 21). The
predominance of stamped, as opposed to carved, decoration
heralds the development of inlaid buncheong wares in the fif-
teenth century. Phoenixes, which often decorate Goryeo ce-
ladon, are auspicious creatures and considered good omens.
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