Page 21 - March 17, 2020 Impotant Chinese Art, Sotheby's, New York

THE SHAPE OF THE SUBLIME

A LUMINOUS WHITE MOON JAR FROM THE JOSEON DYNASTY

Moon jars (Korean: dalhangari) are named for their However, the cobalt used in the design had to be imported
spherical form and white color which evoke the shape through China and the geopolitical circumstances of the late
and tonality of the full moon. The unique hue of each jar 16th through 17th century—notably two Japanese invasions
depends on the natural properties of the clay used in its of Korea (1592 and 1598), two Manchu invasions of Korea
production, and the effect of the thin glaze on its surface (1627 and 1636), and a long and tumultuous dynastic
which varies from transparent to slightly milky in tone. transition in China—made it nearly impossible for Korean
From their inception, these vessels have been admired for potters to obtain cobalt during that period. By the end of the
their minimalist aesthetic, in which the plentiful proportions 17th century, the use of cobalt and other luxury products
coexist harmoniously with the restrained surface treatment, was formally banned through sumptuary laws designed to
qualities that equate to contemporaneous neo-Confucian preserve the state’s financial resources in the midst of a
values extolling the moral fullness that accompanies a life socioeconomic crisis. As a result, Joseon ceramicists of the
dedicated to pursuing purity, modesty, and essential truths. 17th century relied on indigenous materials and inspiration,
Along with other white porcelaneous wares, moon jars were and began crafting monochrome white wares, including
first produced in the official kilns near the capital city of dishes, bowls, vases, and moon jars.
Hanyang (present-day Seoul) during the Joseon dynasty Excavations of the pottery shards from the official kiln sites
(1392-1910). These kilns were established in the late reveal that moon jars were first made in the early 1600s,
1460s to supply vessels to the royal court for use in daily and their popularity grew throughout the 17th and 18th
life and state rituals. The production of these vessels was centuries, when private kilns began imitating the newly iconic
highly regulated, with government-appointed supervisors form. Moon jars were produced by forming two roughly
overseeing the selection of raw materials and the fabrication hemispherical bowls on a wheel, joining them together at
of the ceramics. One of the earliest, and most important, the rims, dipping the resulting jar in a transparent or white-
official wares produced in white kaolin clay at these kilns tinged translucent glaze, and firing it at a high temperature.
were the blue and white ‘dragon’ jars, which were inspired The craftsmen took care to make the two halves compatible,
by Chinese blue and white ‘dragon’ vessels given by the but to avoid making them identical. Subtle irregularities
Xuande Emperor (r. 1425-1435) to King Sejong (r. 1418- between the upper and lower body, the contours of the
1450). Characterized by a baluster shape surmounted by a sides, and the tonality and texture of the surface, were
short neck, these ‘dragon’ jars were important implements retained in the finished product to reveal the process and
in royal Joseon ceremonies in the 15th and 16th century. materials unique to each jar. In other words, the potter had

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