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Korean ceramic history () begins with the oldest earthenware from around 8000 BC. Throughout the history, the Korean peninsula has been home to lively, innovative, and sophisticated art making. Long periods of stability have allowed for the establishment of spiritual traditions, and artisan technologies specific to the region. Korean ceramics in Neolithic period have a unique geometric patterns of sunshine, or it is decorated with twists. In Southern part of Korea, Mumun pottery were popular. Mumun togi used specific minerals to make colors of red and black. Korean pottery developed a distinct style of its own, with its own shapes, such as the moon jar or Buncheong sagi which is a new form between earthenware and porcelain, white clay inlay celadon of Goryeo, and later styles like minimalism that represents Korean Joseon philosophers' idea. Many talented Korean potters were captured and brought to Japan during the invasions of Korea, where they heavily contributed to advancing Japanese pottery. Arita ware, founded by Yi Sam-pyeong opened a new era of porcelain in Japan. Another Japanese representative porcelain, Satsuma ware was also founded by Dang-gil Shim and Pyeong-ui Park. 14th generation of Su-kwan Shim have been using the same name to his grandfather and father to honor they are originally Korean, 14th Su-kwan Shim is honorable citizen of Namwon, Korea.
Celadon subsequently became the main production.
Temples increased the demand for celadon-glazed wares ( cheongja), causing cheongja celadon to evolve very quickly, with more organic shapes and decorations, such as animal and bird motifs. But the celadon do not have any relationships with Buddhism itself, there are jade gokok in the old Stone Age, Korea and jade necklaces in the Neolithic age. The jade was valued as a treasure like we can witness many jade gokoks are hanging in Shilla's golden crown. Those jade gokok were symbol of creativity of the universe.
When making cheongja wares, a small amount of iron powder was added to the refined clay, which was then coated with a glaze and an additional small amount of iron powder, and then finally fired. This allowed the glaze to be more durable, with a shinier and glossier finish than white wares.
Key-fret, foliate designs, geometric or scrolling flowerhead bands, elliptical panels, stylized fish, , birds and the use of incised designs began at this time. Glazes were usually various shades of celadon, with browned glazes to almost black glazes being used for stoneware and storage. Celadon glazes could be rendered almost transparent to show black and white inlays. Jinsa "underglaze red", a technique using copper oxide pigment to create copper-red designs, was developed in Korea during the 12th century, and later inspired the "underglaze red" ceramics of the Yuan dynasty.
While the forms generally seen are broad-shouldered jars, larger low jars or shallow smaller jars, highly decorated celadon cosmetic boxes, and small slip-inlaid cups, the Buddhist potteries also produced melon-shaped vases, chrysanthemum cups often of spectacularly architectural design on stands with lotus motifs and lotus flower heads. In-curving rimmed alms bowls have also been discovered similar to Korean metalware. Wine cups often had a tall foot which rested on dish-shaped stands.
Baekja wares came from highly refined white clay, glazed with feldspar, and fired in regulated and clean large . Despite the refining process, white glazes invariably vary as a result of the properties of the clay itself; firing methods were not uniform, temperatures varied and glazes on pieces vary from pure white, in an almost snowy thickness, through milky white that shows the clay beneath deliberately in washed glaze, to light blue and light yellow patinas. After having succeeded the tradition of Goryeo baekja, soft white porcelain was produced in the Joseon dynasty, but from the mid-Joseon on hard white porcelain became the mainstream porcelain.Yunesŭk'o Han'guk Wiwŏnhoe. UNESCO Korean survey. Dong-a Pub. Co., 1960. p.32 Pictorial Korea. Korean Overseas Information Service, 2004. p.28
The baekja wares reached their zenith immediately before the Joseon dynasty came to power. Fine pieces have recently been found in the area around Wolchil Peak near Mount Kumgang. The transitional wares of white became expressions of the Joseon dynasty celebrations of victory in many pieces decorated with Korean calligraphy. Traditionally, white wares were used by the scholarly Confucian class, the nobility and royalty on more formal occasions.
Wares evolved along Chinese lines in terms of colour, shape, and technique. Celadon, white porcelain, and storage pottery were similar, but with certain variations in glazes, incision designs, florality, and weight. The Ming influence in blue and white wares using cobalt-blue glazes existed, but without the pthalo blue range, and the three-dimensional glassine colour depth of Ming Dynasty Chinese works.
Simplified designs emerged early on. Buddhist designs still prevailed in celadon wares: lotus flowers, and willow trees. The form most often seen was that of pear-shaped bottles. Notable were thinner glazes, and colourless glazes for buncheong or stoneware. During the Joseon period, Koreans applied the sanggam tradition to create buncheong ceramics. In contrast to the refined elegance of Goryeo celadon, buncheong is painted stoneware designed to be natural, unassuming, and practical. However, the buncheong tradition was gradually replaced by Joseon white porcelain, its aristocratic counterpart, and disappeared in Korea by the end of the 16th century. Buncheong became known and prized in Japan as Mishima ware.
Joseon white porcelain representing Joseon ceramics was produced throughout the entire period of the Joseon dynasty. The plain and austere white porcelain suitably reflects the taste of Neo-Confucian scholars.Scott Hudson, National Museum of Korea, Sol Publishing, 2005 Qing dynasty colouring, brighter and almost Scythian art in enamel imitation, was rejected by Korean potters, in favour of simpler, less decorated wares in keeping with a new dynasty that built itself on Confucian doctrine.
Generally, the ceramics of this dynasty is divided into early, middle, and late periods, changing every two centuries, approximately; thus 1300 to 1500 is the early period, 1500 to 1700 the middle, and 1700 to 1900–1910 the late period.
The wares began to assume more traditional Korean glazes and more specific designs to meet regional needs. This is to be expected, as the Scythian art influences were of the former dynasty. The rise of white porcelain occurred as a result of Confucian influence and ideals, resulting in purer, less pretentious forms lacking artifice and complexity.
In 1592 during the Japanese invasion of Korea, entire villages of Korean potters were forcibly relocated to Japan, damaging the pottery industry as craftsmen had to relearn techniques because the masters were gone.
More practical potteries were loved during this period, while big companies like Hankook Porcelain and Haengnam Porcelain were established. Buncheong casual wares also revived and became widely popular due to the modern-day eco-minimal trend.
Even though celadon was first made during Baekje kingdom period 3rd to 4th century, in Goryeo it is applied to various forms and designs.
Architecture and Layout: Koryö royal tombs share similarities with Chinese imperial tombs from the Song dynasty (960–1279) but are smaller in scale. Typically, they feature a small earthen mound enclosed by a stone banister covering an underground tomb. The interior consists of a single stone chamber adorned with mural paintings depicting secular and Buddhist motifs. Some tombs, such as that of King Myöngjong, reveal a raised platform suggesting the interment of an extended body rather than cremated remains.
Coffin Ornaments: Archaeological findings within royal stone chambers indicate the use of wooden coffins adorned with bronze ornaments. Gilt-bronze coffin ornaments, including appliqué figures of the Four Guardian Animals and Buddhist apsaras, were attached to the coffin with nails. The coexistence of Buddhist iconography and Guardian Animals suggests a deliberate blending of ideologies, reflecting the pluralist nature of Koryö worldviews.
Stone Caskets: In some cases, stone caskets were placed inside the tombs, featuring engraved images of the Four Guardian Animals and occasionally lotus and apsaras. Unfortunately, none have been found in situ, making it challenging to determine their original purpose and contents. Some historical records suggest that stone boxes may have held cremated remains or artifacts, highlighting the diverse nature of Koryö burial practices.
Grave Goods and Celadon Wares: Discussions around stone caskets shed light on the arrangement and variety of burial goods within Koryö royal tombs. While grave robbers have looted many tombs, intact findings, such as celadon wares, bronze rings, and coins, offer valuable insights into the types of artifacts interred with the elite. Discussions also touch upon the challenges of interpreting the significance of grave goods due to looting.
Pit Graves: In contrast to royal stone chamber tombs, lower-ranking officials, local strongmen, and commoners were interred in pit graves. These graves, either earthen pit graves or stone-lined graves, contain fewer grave goods, with a decline in metal artifacts attributed to the Mongol invasions during the late 13th and 14th centuries. The construction methods and types of artifacts in pit graves indicate differences in social status.
The Tombs of the Koryö elite provide a fascinating glimpse into the burial practices, artistic expressions, and social hierarchies of the Koryö Kingdom. Despite challenges posed by looting and the passage of time, ongoing archaeological research continues to deepen our understanding of this rich historical and cultural heritage.
During the Joseon dynasty, the 'closed door policy' was implemented after attacks from France and the United States were repelled. Most exports during this period went to Japan, and most were from provincial coastal kilns, especially in the Busan area. Export occurred in two ways: either through trading or through invasion and theft of pottery and the abduction to Japan of families of potters who made the wares. Financial Times - Korea’s artistic treasures – and their links to China and Japan by David Pilling APRIL 11, 2014 The voluntary immigration of potters was improbable since Joseon pottery was administrated by the Ministry of Knowledge Economy (工曹). As a national resource, pottery technician trade with foreign countries was prohibited.
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