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33 hits

  • Thumbnail for Korean ceramics: Dish with Pine Tree, Buncheong-style ware.
    Korean ceramics: Dish with Pine Tree, Buncheong-style ware. by Min Young-ki (1947 - ), potter and Chun Sung-woo (1934 - ), painter

    This large dish is a collaborative piece, created by Min Young-ki, potter, and Chun Sung-woo, painter, both famous contemporary artists. The piece is in the style of Buncheong-ware. In this piece, the dish was created and coated with a white slip (clay in a liquid state); the image of a tall pine tree was painted on top of the white slip, and the piece was then covered with glaze and fired. Gift of Chung Yang-mo, 2004.14

  • Thumbnail for Vase
    Vase

    Swelling small-mouthed vase with heavy foot of cream colored stoneware covered with thick, whitish slip, decorated with sgraffito designs of cranes, rabbit, humans in landscape. Numerous firing cracks filled after firing with black material. h:10†diameter: 7 1/4â€.

  • Thumbnail for Tripod Incense Burner with Lid Sculpture of a Bearded Goat
    Tripod Incense Burner with Lid Sculpture of a Bearded Goat

    Stoneware with celadon glaze and inlaid white slip. Height: 3.2" This is a very fine example of late Koryô period celadons.

  • Thumbnail for East Asian Ceramics:  Then and Now.  05,  Punch'ong-ware Flask
    East Asian Ceramics: Then and Now. 05, Punch'ong-ware Flask by unknown

    In this Korean piece, a folk art piece from the 15th century, we see a whimsical design of fish that, in fact, makes a sophisticated use of positive and negative shapes. The surface of the stoneware vessel was coated with a thick white slip (a clay in a liquid state), done while the vessel, itself, was still damp, semi-soft clay. A sharp tool was then used to draw the design on the surface, with the tool cutting away a line in the white surface slip, revealing the darker clay of the vessel body beneath the slip. The piece was then glazed with a clear (transparent) glaze that would reveal the pattern under the glaze after firing. Although the glaze is clear, after firing it has a pale greenish color. This color comes from the presence of iron oxide in the glaze, which may have been added to the glaze before application or it may be iron from the dark, iron rich clay body used to make the piece. In the latter case, the iron would be pulled into the glaze during the firing process, which would be done in a wood-burning kiln with the presence of smoke and carbon monoxide creating the cool, greenish iron color (in the presence of a clear burning flame, iron oxide would produce a different palette of colors, ranging from tan to a sienna orange -kaki color in Japan- to the black of temmoku glazes). It is this particular greenish iron color that gives these Korean wares their name, punch’ong. The thick potting of this piece identifies it as the product of a rural, folk art kiln; this was not created as a “work of art.†-- Bequest of Russell Tyson, 1964.936

  • Thumbnail for Korean ceramics: Bottle, Buncheong ware.
    Korean ceramics: Bottle, Buncheong ware. by unknown

    Bottle, stoneware. In this example, the decorative technique employed was quite different from the other two Bundheong ware bottles shown here. In this instance, the surface of the piece was stamped with a pattern, perhaps made of fired clay. The surface of the piece was then coated with white slip (porcelain), including the impressed pattern elements. The surface was then scraped clean of the white slip, revealing the darker underlying clay, while the white clay remained in the indentations stamped into the surface, creating the contrasting pattern of light and dark that we see here. The Avery Brundage Collection, B60P388

  • Thumbnail for Korean ceramics:  Bottle, Buncheong ware.
    Korean ceramics: Bottle, Buncheong ware. by unknown

    Bottle, stoneware. The form was covered with a contrasting white slip. Several horizontal bands were created by incising horizontal lines through the white slip. Within the horizontal bands, areas, defined by those incised lines, the potter or decorator then used brush and iron oxide to paint design motives on the surface, with the glaze then being applied over the decoration. The Avery Brundage Collection, B65P63

  • Thumbnail for Korean amulets and chatelaines (3)
    Korean amulets and chatelaines (3)

    These are interesting pedagogically in discussions of Asian shamanism but need further study.

  • Thumbnail for Korean ceramics: Jar with dragon decoration, porcelain.
    Korean ceramics: Jar with dragon decoration, porcelain. by unknown

    A fairly large porcelain piece, very full in form. The surface of the piece functions as a canvas for the very bold, energetic brush decoration that covers the entire surface. The image is that of a dragon, a frequent theme in east Asian art, twisting as it moves through the air between clouds. The brush decoration is iron oxide applied under the glaze.

  • Thumbnail for Korean Ceramics:  Porcelain Jar.
    Korean Ceramics: Porcelain Jar. by unknown

    Large spherical jar of the sort known as a "Moon" jar. The museum label comments, these jars "...were loved by Korean people not only because of their white color, which was suggestive of Confucian virtues, but also because the form was thought to represent the fertility and gentle, embracing qualities associated with women during the Joseon dynasty." This example presents an interesting comparison with the jar presented in file ecasia000358, another "Moon" jar from the collection of the Art Institute of Chicago. The one in Chicago has a more matte glaze surface, while this one has a transparent glaze. The difference in the glaze may be the result of placement in different locations in a kiln, with the matte surface possibly resulting from a slightly cooler temperature and the transparent glaze from a slightly higher temperature, as might result at the different ends of a tube kiln. (The Avery Brundage collection, B60P110+ )

  • Thumbnail for Celadon vase
    Celadon vase

    Celadon-glazed Korean vase.

  • Thumbnail for Korean Meiping (plum shaped) vase with celadon glaze
    Korean Meiping (plum shaped) vase with celadon glaze

    Size: Height: 27 ½ cm. A letter from the donor is preserved and states that “The choicest article in the box (of items he sent to the library) is a celadon vase of the rare old Korean pottery, for hundreds of years only to be had from desecration of the royal tombs in which this ware had been buried with the bodies of departed dignitaries who had died prior to some five hundred years ago. This particular piece came from a royal tomb looted by Japanese.â€

  • Thumbnail for Deep Cylindrical Bowl
    Deep Cylindrical Bowl

    Squat, fluted cylindrical on ringed foot; gray stoneware covered with satiny cream-colored glaze. 4 1/4 x 4 3/4".

  • Thumbnail for Risky business : a case study of Hyundai Motor Company's success in the U.S. market
    Risky business : a case study of Hyundai Motor Company's success in the U.S. market by Graf, Brian Kenneth

    Since its entrance into the American market, Hyundai Motor Company has transformed itself from an auto producer that was known for its poor quality and low price to one with a substantial market share, and stealing customers away from many industry veterans, as well as pushing into the luxury segment of the auto market. But how was this late-moving car maker able to gain an advantage in this extremely competitive market? This thesis attempts to answer this question through the method of archival research that results in a detailed history of the company as well as a case study that examines which factors were crucial to Hyundai Motor Company's success. This case study found that there were four key areas of the company’s business that assisted it in achieving the accomplishments that it did: a unique culture, a flexible production strategy, a constantly evolving positioning strategy, and an extremely perceptive marketing team.

  • Thumbnail for Korean ceramics:  "Moon" Jar
    Korean ceramics: "Moon" Jar by unknown

    This vessel, titled "Moon" Jar , is from 17th century Korea. It is porcelain, glazed with a white glaze and is perhaps 16 or 18 inches in height. -- Gift of an anonymous donor and Louise Lutz Estate; Russell Tyson Endowment, 2001.413 -- Technical notes and a subjective response to the piece, from a potter: Perhaps the most striking quality of this piece is its remarkable feeling of volume, almost of swelling, as if the space on the interior of the piece is expanding and pushing out the form of the piece. This creates both a sense of the interior space of the piece and a feeling of tautness on the surface of the form, as if it is being pulled tight, stretched like the skin of a ripe fruit. This is a powerful expression of form and space, at the same time that the piece possesses a strong quality of dignity and reserve, due perhaps to the near symmetry of the form, top to bottom, the lack of deliberate decoration on the surface, and the quiet of the white semi-matte glaze surface. There is, however, great subtlety in the glaze surface, when we look closely at the piece, with a rich pattern of fine crackling in the glaze surface, and some remarkable and subtle color variations across the surface. A very noticeable, yet quiet glaze color variation is found in the patches of a very pale pinkish color visible in several places, such as on the left in this image, just above the middle of the piece, the belly of the piece. These probably were caused by an impurity in the clay body volatilizing, burning out, during the firing of the form, causing a chemical reaction in the glaze, proper, imparting the slightest blush of color to the basically white glaze. A similar type of effect is seen, e.g., in the famous halo effect on pieces from the Asahi kiln, Uji, Japan. -- Technically, it would be extremely difficult to throw a porcelain vessel of this size and extention on the potters' wheel in one piece. If you look very carefully at the contour of the curve of the form, you will note that, right at the belly, the point of maximum extension of the form, the curve appears to straighten out ever so slightly. Also, right at the middle of the form, particularly on the right half of the piece, there appears to be a very, very slight line or seam, a slightest break in the smooth surface of the over-all piece. These two slight variations in the form suggest (to this writer) that perhaps the form was accomplished by taking two forms, bowl -like forms, that had been thrown separately, and joining them rim to rim, one upside down on top of the other one, to create this total form. (Alternately, the piece may have been created using the technique known as "coil and throw," a technique widely used in East Asian ceramics, as in the storage jar from Shigaraki, Japan, also in this exhibition. The bottom section of a piece would be thrown, then allowed to dry out and stiffen somewhat. After being recentered on the potters' wheel, a thick coil of soft clay would be added to the rim of the bottom section and the top portion of the form would be pulled up out of that thick coil of clay.) We might notice also that the foot of the piece and the rim of the piece are nearly identical in form and size, adding to the impression of two bowl forms joined rim to rim. The foot and rim of the total form do something else that is worth noting- because they both are straight cylindrical forms and are visually the same size, they may suggest visually a cylindrical form that runs straight through the entire form, giving it a strong sense of structure that both contains and supports the powerful swelling of the contour of the form.

  • Thumbnail for Korean ceramics: Jar, Buncheong ware.
    Korean ceramics: Jar, Buncheong ware. by unknown

    A modest sized Buncheong ware jar, perhaps 5 inches in height. Stoneware with a white slip that was applied thickly with a coarse brush that left a sense of the gesture of the brush stroke on the surface. The form of this piece calls to mind the similar forms of pieces made in Japan in the 16th century, on the island of Kyushu, by Korean potters, such as those who created Takatori-ware in present-day Fukuoka Prefecture. An example of such a piece may be seen in image soc000146, in the St. Olaf College collection, Asian Take Out. Gift of Mr. Arthur J. McTaggart, 1998.25

  • Thumbnail for Korean ceramics: Bottle, Buncheong ware.
    Korean ceramics: Bottle, Buncheong ware. by unknown

    Bottle, stoneware. The form was covered with a white slip applied with a brush. The design on the piece was created by using a sharp tool to cut through the white slip coating, revealing the darker clay underneath, in the manner used in Buncheong ware. The Avery Brundage Collection, B67P41

  • Thumbnail for Korean ceramics: Bottle with medallion, porcelain.
    Korean ceramics: Bottle with medallion, porcelain. by unknown

    Bottle, thrown and faceted. The piece is porcelain with characters drawn on the surface with an underglaze cobalt slip or pigment. -- The Avery Brundage Collection, B64P30

  • Thumbnail for Korean amulets and chatelaines (4)
    Korean amulets and chatelaines (4)

    These are interesting pedagogically in discussions of Asian shamanism but need further study.

  • Thumbnail for Korean amulets and chatelaines (8)
    Korean amulets and chatelaines (8)

    These are interesting pedagogically in discussions of Asian shamanism but need further study.

  • Thumbnail for White Glazed Porcelain Bowl
    White Glazed Porcelain Bowl

    Shallow, flaring, thin-walled porcelain vessel; bowl divided into 6 lobes; on small ringed foot; covered with creamy, lustrous glaze; 3 small spur marks in bottom of bowl. 2 x 6 1/2".

  • Thumbnail for Celadon Bowl with Inlaid Slip Designs
    Celadon Bowl with Inlaid Slip Designs

    Stoneware with celadon glaze and inlaid black and white slip. Diameter: 7 1/2"

  • Thumbnail for Vase
    Vase by Anonymous

    Very light blue glaze on white porcelain body.

  • Thumbnail for East Asian Ceramics:  Then and Now.  06,  Vase by Choi Sungjae
    East Asian Ceramics: Then and Now. 06, Vase by Choi Sungjae by Sungjae, Choi (1962 - )

    This slab-formed bottle vase form, titled 1cMeditation-Staying V, 1d is a contemporary Korean piece. It refers to the much earlier Korean tradition of Punch 19ong-ware, as seen in the Punch 19ong-ware Flask in this exhibit (represented here in image ecasia000359). 1cMeditation-Staying V 1d refers to the earlier tradition through its use of materials and decorative technique. It is a form constructed of slabs ( 1csheets 1d) of clay, cut and assembled when stiff enough to be handled without deforming them [incidentally, if you look carefully at the lower portion of the piece, you can discern a line that shows that the top of the body of the piece sits on a slab that forms the bottom of the piece]. The two lugs on the shoulder of the piece are bits of soft clay added as accents after the piece was assembled (they derive from loops of clay on the shoulders of pieces, formerly functional forms, as might be used, e.g., to attach cords to tie down a piece of material to seal the mouth of a jar). The neck of this piece, as seen from a higher point of view, is oval in shape; it could have been formed with a slab of clay or might have been thrown on a potters 19 wheel (thrown as a cylinder, then squeezed to the oval form used on the piece). The finished form, before firing, was coated with a thick white clay slip, using a broad, coarse brush to apply the slip. The potter 19s finger or a tool of some sort then was used to draw through the soft slip surface, revealing the dark clay body beneath the slip coating. [Many persons will recall using a similar technique in school art classes to create drawings on 1cscratch-board. 1d] When fired, probably in a 1csmoky 1d reduction atmosphere, the clear glaze takes on the cool tonality of reduced iron oxide and shows a slight greenish cast, similar to the effect created on traditional Punch 19ong-ware. The imagery on the piece also refers to the earlier tradition of Punch 19ong-ware in its content and spirit. As stated on the museum exhibition label, 1cIn keeping with the spontaneity of the design of such ceramics of Korea 19s past [Punch 19ong-ware], Choi Sungjae used his fingers to draw a picture of ducks swimming among reeds on this large vase. 1d -- Gift of Bernard and Suzanne Pucker in honor of Stephen Kuman, RO46208

  • Thumbnail for Korean ceramics: Vase with reeds and egret, buncheong style ware.
    Korean ceramics: Vase with reeds and egret, buncheong style ware. by Park Young-sook (1947 - )

    Vase with reeds and egret, 1998, is a modern piece by Park Young-sook (1947 - ). The simple stoneware form was covered with white slip, which was then drawn through with a sharp tool, revealing the darker clay body beneath. Bits of clay and copper-oxide were added to form the tops of the reeds and the entire piece was then covered with a clear glaze contained a small amount of iron oxide, which produces the light green color, known as celadon. The techniques employed by the artist call deliberately on earlier traditions of Korean pottery, the buncheong tradition of the Joseon (Yi) dynasty (1392-1910). Gift of Dr. and Mrs. Marvin Gordon, 1999.48

  • Thumbnail for Korean ceramics: Jar in the shape of a barrel, porcelain.
    Korean ceramics: Jar in the shape of a barrel, porcelain. by unknown

    This piece presents an interesting contrast to the elegance of most of the other Korean forms presented here, images ecasia000382 through ecasia000387. This piece is heavy and broadly proportioned when compared with the other bottle forms with their narrow, soaring necks. Technically, it is an interesting piece, having been constructed obviously of three separate pieces. The body of the piece appears to have been formed by throwing two bowl forms which were then joined together, rim to rim, in the same manner as appeared to have been the case with the "Moon Jar" shown in image ecasia000358. The neck of this jar is also a separately thrown piece, a cylindrical form which was joined to the top of the piece to form its neck. The Avery Brundage Collection, B60P926