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9 hits

  • 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 Japanese Ceramics:  Jar with wisteria design, Imari-type Arita ware.
    Japanese Ceramics: Jar with wisteria design, Imari-type Arita ware. by unknown

    Porcelain jar with underglaze cobalt decoration, wisteria design. Imari-type Arita ware. (The Avery Brundage Collection, B67P7)

  • Thumbnail for Japanese Ceramics:  Jar with bird design, Arita ware.
    Japanese Ceramics: Jar with bird design, Arita ware. by unknown

    Porcelain jar with bird design painted in underglaze cobalt. Kakiemon-type Arita ware. (The Avery Brundage Collection, B64P37)

  • Thumbnail for Japanese Ceramics:  Storage jar, Shigaraki ware.
    Japanese Ceramics: Storage jar, Shigaraki ware. by unknown

    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.

  • Thumbnail for Japanese Ceramics:  Jar with lid, Kakiemon-type Arita ware.
    Japanese Ceramics: Jar with lid, Kakiemon-type Arita ware. by unknown

    Porcelain lidded jar with overglaze enamel decoration. Kakiemon-type Arita ware from Saga Prefecture, Kyushu. (Avery Brundage Collection, B60P1206 )

  • Thumbnail for Japanese Ceramics: Ewer, Arita ware.
    Japanese Ceramics: Ewer, Arita ware. by unknown

    Porcelain ewer with overglaze enamel decoration. Kakiemon-type Arita ware. (The Avery Brundage Collection, B65P59)

  • Thumbnail for Korean Ceramics:  Stand with a jar.
    Korean Ceramics: Stand with a jar. by unknown

    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 )

  • Thumbnail for Japanese Ceramics:  Covered box by Kawai Hirotsugu.
    Japanese Ceramics: Covered box by Kawai Hirotsugu. by Kawai, Hirotsugu (b. 1919)

    Porcelain box with underglaze cobalt and overglaze enamel decoration. (Gift of William Vredenburg, 1991.102.a-.c )

  • Thumbnail for Japanese Ceramics:  Large Bowl, Arita ware.
    Japanese Ceramics: Large Bowl, Arita ware. by unknown

    Porcelain bowl with cobalt underglaze decoration. Imari-type Arita ware. (Acquisition made possible by a gift from the family of Suzanne Scott, F2003.1)