Page 66 - Symbols_of_Identity_Korean_Ceramics_from the Chang Collection

opped with a trumpet-shaped mouth and neck, the
Tform of this bottle opens into drooping shoulders and
a sagging body before turning inwards to meet the foot. The
decorations are stamped and incised and then inlaid in white
under a buncheong (“powder green”) glaze. A series of inlaid
concentric rings just below the neck is followed by closely
packed columns of short, cord-like vertical lines (a design
often referred to by the Japanese term “rope curtain”) that fill
up the body of the vessel, ending with two concentric rings
near the foot. The footrim is free of glaze and has both oxi-
dized red patches as well as unoxidized gray patches. The ar-
eas outside and within the footrim have a thin layer of white
slip under the glaze.

Vigorously stamped and inlaid buncheong wares, such as
43. this bottle, are early examples of the revival of elite ceramics
Bottle production during the early Joseon dynasty, after the decline
15th century, Joseon of the industry during the end of the Goryeo dynasty. The
TL results: fired between 400 & 700 years ago dense, repetitive patterns found on many inlaid buncheong
Stoneware with inlaid designs under buncheong glaze wares of the fifteenth century are reminiscent of the crowded
H: 14.4 cm, W: 11.2 cm stamped designs found on gray stoneware vessels of the Uni-
fied Silla period (668–935). The surface of the body material
seen on the footrim of this vessel has oxidized to a reddish
color during firing. The gray areas are where clay pads were
stuck so that the bottle could be lifted off of the firing surface
in the kiln without the glaze sticking to the surface. The areas
covered by the clay pads would have been prevented from
oxidizing, therefore remaining a gray color.
The collector’s father used this bottle for pouring alcohol.

64