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+ )
Porcelain jar with underglaze cobalt decoration, wisteria design. Imari-type Arita ware. (The Avery Brundage Collection, B67P7)
Porcelain jar with bird design painted in underglaze cobalt. Kakiemon-type Arita ware. (The Avery Brundage Collection, B64P37)
A large storage jar in the characteristic Shigaraki form. Produced with the coil and throw technique, as can be seen on the right side profile of the piece. Typical rough Shigaraki clay with bits of feldspathic rock in it, which fused in the kiln to create the smooth white bits of "glass" in the the surface of the piece. The surface shows a slight gloss, the result of "natural glaze" from the firing, as wood ash from the kiln fire would combine with silica in the clay of the piece to form a silicate compound, a natural glass.
Porcelain lidded jar with overglaze enamel decoration. Kakiemon-type Arita ware from Saga Prefecture, Kyushu. (Avery Brundage Collection, B60P1206 )
Stoneware jar on a stand, from the ancient region of Gaya in Korea. The stand accommodates the jar, which is round bottomed and could not stand on its own. The piercing of the stand base is probably visual, rather than being designed to serve a particular purpose. The side of the jar shows natural glazing, in the form of wood ash from the kiln fire that settled on the shoulder of the piece and fused with silica in the clay to create a natural, "accidental" glaze. (Gift of Juliet Boone, 1991.150.a-.b )
Porcelain box with underglaze cobalt and overglaze enamel decoration. (Gift of William Vredenburg, 1991.102.a-.c )