Page 148 - Korean Buncheong Ceramics, Samsung Museum Collection (great book)

42. Ibid., p. 128.
43. I gratefully acknowledge Nishida Hiroko of the Nezu Museum for helping me identify the bowl
as a Kyoto ware. She has also noted that it may even be a work by Nonomura Ninsei or his
workshop. Though there are no extant vessels of this style attributed to Ninsei, many shards
found at the sites of Ninsei’s kilns are of the inlaid and stamp-decorated stoneware type, like
this bowl in the collection of The Metropolitan Museum of Art.
44. Cort 1984.
45. Cooper 1971.
46. Brandt 2007; Yanagi 1972.
47. The study and appreciation of both buncheong ware and Korean-made export ceramics to
Japan would reach a new height beginning in the second half of the twentieth century,
following the lead of such scholars as Hayashiya Seizo and Akanuma Taka, with publications
such as Hayashiya 1980–81 and the publications from Chado Shiryokan.
48. A number of modern and contemporary Korean potters have chosen to engage with the form
of the tea bowl, especially revivals of the types of Joseon ceramics that were exported to
and appreciated in Momoyama and Edo Japan. In doing so, they are (consciously or not) also
engaging with references to chanoyu, a long-established — though continually changing — and
very Japanese practice.

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