Page 146 - Korean Buncheong Ceramics, Samsung Museum Collection (great book)

noteS

1. Han 1996, pp. 6–23. Attacks by Japanese pirates ceased after 1443.
2. Son 1994, pp. 71–74.
3. Kokuritsu Rekishi Minzoku Hakubutsukan 1998; Cort 2003.
4. Izumi Choichi, “Busanyo to gohon chawan” 釜山窯と御本茶碗 (The Busan Kilns and Gohon
Tea Bowls), in Chado Shiryokan 1992, pp. 114–29.
5. The ultimate goal of the Imjin Wars was the conquest of Ming China, with Joseon Korea
providing the most efficient route to that final destination. The invasions ended (without
attaining Ming) when its chief architect, Toyotomi Hideyoshi, the principal warlord of Japan,
died prematurely in 1598.
6. A Korean nonbuncheong regional stoneware that influenced Kyushu ceramics — including
Hizen ware, or Karatsu — was onggi, which was made by the coil method, not on a wheel.
The production of onggi involved tapping the interior of a vessel with tools that left patterned
marks ( Japanese: tataki ), a technique adopted by Kyushu potters for large pieces, such as
jars. There is little evidence that Bunwon porcelain techniques had an impact on ceramic
production in Kyushu, including its porcelain manufacture, which began in the early years of
the 1600s (nor were Bunwon porcelains imported to Japan in any significant numbers).
7. In academic circles today, especially in Japan, Karatsu ware is more commonly referred to as
Hizen stoneware ( Hizen toki ), by analogy with Hizen porcelain ( Hizen jiki ). The popular names
of the ceramics Karatsu and Imari are also the names of towns in Kyushu, although the
manufacture of both stoneware and porcelain was not exclusive to the towns whose names
they bear. In this essay, we have opted to use the better-known term Karatsu ware.
8. The heads of these clans, who participated in Hideyoshi’s invasions of Korea, were, respectively,
Hosokawa Tadaoki, Kuroda Nagamasa, Shimazu Yoshihiro, and Mori Terumoto. For overviews
of these wares, see Kawano 1989, Nakazato 1989, and Kozuru 1990.
9. Chado Shiryokan 1990.
10. Ibid., p. 107.
11. Two of the most notable tea masters were Murata Shuko (1423–1502) and Takeno Joo
(d. 1555/58). See Murai 1989. For a discussion of the evolution of the tea ceremony, culminating
in Rikyu, see Varley and Elison 1981. For a new perspective on the changes in tea culture in
the sixteenth century, see Slusser 2003.
12. A reference to “Korai chawan” (高ライ茶碗) appears in the tea diary Matsuya kaiki. See
Tsutsui 2003, pp. 55–56.
13. A tea bowl in the Mitsui Bunko collection is believed to have been owned by Rikyu himself,
from whom it passed to the Mitsui family. See Chanoyu bijutsukan 1997–98, vol. 1, p. 452.
14. For similar examples see Gungnip Jungang Bangmulgwan 2007, p. 225 and figs. 405–407.
15. Chanoyu bijutsukan 1997–98, pp. 243, 300.
16. “天下無双の名物.” See Tokugawa Bijutsukan 1982, pl. 121.
17. The treatment of the foot resembles that on some Yatsushiro ware produced in the later
Edo period in Kyushu, though this Metropolitan Museum bowl is clearly not a late-Edo
Yatsushiro work.
18. A well-known example of this type of tea bowl is in the collection of the Tokyo National
Museum. See Chado Shiryokan 1989, pl. 57.
19. Turning Point 2003.
20. Izumi Choichi, “Busanyo to gohon chawan,” in Chado Shiryokan 1992 (see also endnote 4).
21. Ibid., p. 121.

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