Page 108 - Korean Buncheong Ceramics, Samsung Museum Collection (great book)

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1. For example, the kiln complex of Chunghyo-dong, in Gwangju, south Jeolla Province. See
Gungnip Gwangju Bangmulgwan 1993.
2. For a brief English-language survey of the history of Korean ceramics, see Kang 2008; for
ceramics before the Joseon period, see Pak and Whitfield 2003; for Joseon-period ceramics,
see Kim Jae-yeol 2003.
3. For an example of early Chinese pilgrim jugs, see Fontein and Wu 1973, pp. 148–49. The
Korean flask-shaped bottle may also derive from leather water bottles used by the nomadic
steppe people.
4. See Great Bronze Age 1980.
5. For possible Chinese sources, see Xie 2007, pp. 159–66, 178–81.
6. Gungnip Gwangju Bangmulgwan 1993, pp. 289–91, 335–37, 351, 373, 410. See also Jeon Seung-
chang’s essay “Buncheong: Unconventional Beauty,” in this volume.
7. Jeong 1999.
8. The earliest extant example in Korea of inlaid metalwork is an iron sword with gold inlay from
the Baekje kingdom with an inscribed date corresponding to 369 c.e. (泰和四年, reign year
Taehwa 4). The technique of inlaid metalwork was likely introduced from China. For an overview
of the history and techniques of Korean inlaid metalwork, see Gungnip Jungang Bangmulgwan
1997. For an overview of the history of inlaid lacquerware in Korea, see Gungnip Jungang
Bangmulgwan 2006.
9. See Gungnip Gwangju Bangmulgwan 1993 for excavated examples from the Chunghyo-dong
kilns in Gwangju.
10. Bak 2005.
11. The combination of white slip and iron painting can be found in the Cizhou ceramics of
Northern China. These decorative techniques, as well as that of sgraffito, reached their peak
during the Song dynasty, though the tradition continued through the Yuan and Ming dynasties.
To date, there is no evidence of any direct connection between Cizhou ware and buncheong
ware (either iron painted or with sgraffito decoration); moreover, the Chinese and Korean
wares are stylistically and aesthetically dissimilar. For examples of more recently discovered
Ming-period Cizhou ware, see Guo 2005.
12. These kilns were first excavated in 1927 by the Japanese Government-General of Seoul during
the Japanese occupation of Korea, but iron-painted products from this region had been
known earlier through looting and illegal sales.
13. Gungnip Jungang Bangmulgwan 2007.
14. For the most recent study of these kilns, see Goheung 2005.
15. For other representations of the dragon (and its variations) in Korean art, see Hoam
Misulgwan 2000.
16. For other representations of the fish in Korean art, see Hoam Misulgwan 1999a.
17. For other representations of the bird in Korean art, see Hoam Misulgwan 1999b.
18. For examples of celadon with explicit or possible Buddhist references, see Gangjin Cheongja
Jaryo Bangmulgwan 2002.
19. The lotus in Joseon art came to symbolize the virtuous Confucian scholar, though when
exactly this symbolism took hold is uncertain. For other symbolic associations of this flower
and various examples of its representations in Korean art, see Gungnip Gongju Bangmulgwan
2004 and Hoam Misulgwan 2005.
20. Kim Young-won and Kang Daegyu 2005.

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