Page 68 - Korean Buncheong Ceramics, Samsung Museum Collection (great book)

The earliest buncheong ware was often produced at the same kilns as late Goryeo celadon,
and by the same potters. In evolutionary terms, changes in patronage and economic and social
circumstances resulted not so much in the extinction of celadon as in a gradual yet stunning trans-
formation into buncheong, as exemplified by a diminutive fifteenth-century bottle with an inlaid
turtleback pattern that repeats over nearly the whole vessel (cat. 28). Many ceramic works with
inlaid (or inlaid and stamped) decoration made in the very late fourteenth century and even the
beginning of the fifteenth could be classified as either late Goryeo celadon or early buncheong
(see Jeon Seung-chang’s essay, “Buncheong: Unconventional Beauty,” in this volume), an ambiguity
that is integral to the history of — and fascination with — buncheong. Nonetheless, from the
perspective of design, there are subtle yet important differences. On a fifteenth-century drum-shaped
bottle (cat. 23), the inlaid white and black lines composing the main motif of the fish and the
auxiliary patterns are extremely fine, almost wispy, demonstrating their source in the inlaid celadon
tradition. Yet the overall design sensibility and the handling of the individual motifs, particularly
the fish, are bold and whimsical, a marked departure from Goryeo celadon.

Catalogue 28 Small bottle with turtleback decoration. Korean, Joseon dynasty (1392–1910); first half of the 15th century.
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Buncheong with inlaid design, H. 4 ⁄8 in. (12.2 cm), Diam. of mouth 1 ⁄2 in. (3.7 cm), Diam. of foot 2 ⁄8 in. (5.3 cm).
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Leeum, Samsung Museum of Art, Seoul
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