Introduction
Ceramics are a combination of clay, earthy materials, powders, and water burned at high temperatures and molded into various shapes and designs. Glazes are ornamental paint-like compounds used to decorate ceramics to exude a bright color. Traditional Korean ceramics provide insight into Korean society by bringing Korean aesthetics and ideas to life. There are four categories by which they look, and the qualities of historical or traditional ceramics from Korea, China, and Japan are determined. These include the clay type and composition, glaze type, kiln type, atmosphere, and historical aesthetics. These differences can be viewed through the lens of various pottery from each country in different dynasties.
Techniques Used in Korea, China, and Japan
Korean ceramics are distinguished from those made in China and Japan as they embody the Korean ethos of simplicity. Korean ceramics expressed their culture’s ideology and were created using a unique inlay method that set them apart from other pottery. The inlay technique, Sangam, was produced by incising and filling the designs with heterogeneous clay (Kleiner, 2016). The design generated a delicate contrast of black and white with a gray clay undertone, giving the impression of excellent brush painting. Korean pottery typically entails simplistic designs and Buddhist motifs, as it was the state religion of the time. Decorations such as lotus flowers, cranes, clouds, and golden fish were representations of the spiritual beliefs of the Korean people fostered by Buddhism (Fosse, 2007). In contrast, Chinese ceramics reflected a luxurious living and thus were large and had a lot of glitters. Japanese ceramics reflected the samurai life and simplistic culture as they were greatly influenced by Korean pottery.
Korean ceramics can also be distinguished from Chinese pottery by their forms and decorative patterns. Korean ceramics are lobed and are pear-shaped distinct from the Chinese jar-shaped pottery. The large jars are asymmetric and do not use twisted rope handles. Korean ware was thicker and more organic with a natural earth color, while Chinese ware was thinner, lighter, and more geometrical precise with brighter colors. Chinese clay could be formed into fragile and delicate shapes by firing the clay above 1250 to 1300 degrees Celsius without breakage (Kleiner, 2016). The Chinese used this high fire kiln technique and glazes due to the hard clay texture in the area. Korean and Chinese potters used similar techniques to achieve bright colors and a shiny transparent glaze. The blue, green, or red color was achieved by heating the clay at high temperatures and reducing the kiln atmosphere, including oxygen. The difference in ceramics can be viewed through different examples of ceramics in various dynasties. The Korean ceramics, the Celadon, and Buncheong wares entailed different techniques compared to Japanese Shiko-Imari and Chinese blue and white porcelain.
The Celadon Ceramics
The Celadon ceramics were developed during the Goryeo Dynasty (918-1392 CE). The ceramics incorporate a distinctive green glaze and are regarded as the most elegant Korean pieces worldwide. Celadon technology premiered in China, and Korean potters refined the process to suit their aesthetics and culture. The primary reason for the technology exchange was the close contact between the Goryeo Dynasty and Song Dynasty in China. Korean potters created the pots using iron-rich clay and a color glaze composed of quartz components. Creating the celadons entailed two steps, bisque firing and firing glazed vessels (Kleiner, 2016). Bisque firing entails drying and hardening unglazed vessels to stabilize them for easier handling. The second step entails firing glazed ceramics in a low oxygen atmosphere to develop the desired color and glossy texture. The difference between Korean and Chinese potters’ technology is the firing steps. Chinese potters utilized stone ovens to heat their ceramics, while Korean potters used conventional mud ovens with limited oxygen flow to get a celadon color tone.
The difference in furnaces used created distinct colors as Chinese pottery had an olive-green glaze compared to the blue-green color of Korean celadons. Celadons were coupled with intricate inlaid ornamentation based on the Sangam technique unique to Korea. The inlays were mainly black, red, brown, white clay, and gold. Vases, bowls, and jugs painted with lotus blossom flowery patterns were among the most popular shapes for celadons. Before applying a translucent slip, the designs were cut into the ceramic surface, and inlays added. A metal underglaze was employed to give the ceramic surface a dark red color during the later period of Korean celadons. The Goryeo celadon depicts characteristics of Koreans such as value, belief, and purpose. They symbolized Buddhism, the Korean kingdom’s belief system, and deities.
The Buncheong Ceramics
During the Joseon dynasty, Buncheong potteries were produced (1312-1910 CE). They’re comparable to celadons in that they’re made of blue-green ceramic glazed white. Vases with long stems, cylinder flasks, and thinned jars were among the earthenware that had a practical use in the home. Buncheong earthenware had a larger surface area because the artistic designs were etched onto white slip or cut into white clay with a sharp instrument, then covered with white slip before being heated.
This technique, referred to as sgraffito, involves the application of slip in a method that leaves traces of brushstrokes that reveal a light grey-blue glaze beneath the decorations. Stamps were used for engraving geometrical decorations, flowers, fish, birds, and dots. The next process entailed using the Celadon Sangam technique, which involved inlaying white or red clay into the carved artwork. The use of white slip created a porcelain appearance and was thus used in the court as the official ceramic style. The Bucheong ceramics represented the Neo-Confucian belief of the Joseon Dynasty.
The Shoko-Imari Ceramics
The Shoko- Imari pottery production began in the early 17th century, fueled by Korean technology due to the invasion of Korea by Japan. The Shoko-Imari ceramics technology was more advanced than other traditional methods as the clay was fired at very high temperatures to develop strong and vitrified earthenware. The Shoko-Imari ware was different from Korean ceramics as it was porous and easily breakable. Japan did not have large deposits of natural white clay high in Kaolin; thus, it used stoneware which could be made from different types of clay. Japanese potters developed a new type of kiln, the Noborigama, which increased precision during firing.
The Shoko-Imari wares were decorated in underglaze blue but did not entail many bright fillings. There are three types of Shoko-Imari ceramics developed in different years. The Ko-Kotani is characterized by bold designs and vibrant colors and emerged in the 1640s to cater to the domestic market. The Kakiemon style, with more translucent colors and a proclivity for asymmetrical motifs, emerged in the 1660s. In contrast, the Imari style, with a darker palette and a propensity for gilding, emerged in the 1670s. Most Shoko-Imari wares had a grainy texture, and the designs were developed freehand.
The Blue and White Porcelain
Blue and white porcelain was the most significant invention during the Yuan dynasty (1271-1368). The Chinese potters could fire wares at extreme temperatures to achieve a clear, brighter color and more rigid body. The porcelain production process entailed the addition of kaolin clay which was locally available to the pottery stoneware (Kleiner, 2016). This increased the aluminum element, raising the firing temperature and reducing the breakage rate. The Chinese potters used cobalt blue for underglaze decorations using translucent glazing techniques. The blue and white porcelain is created using the color blue from cobalt oxide. The cobalt oxide was applied to create decorations using a brush on the white clay. The porcelain was then coated with a clear glaze and fired at high temperatures.
Conclusion
Korean, Japanese, and Chinese ceramics borrowed techniques and motifs from each other. The roughness asymmetry in the Buncheong ware exerted influence on Japanese ceramics. The Chinese used the celadon glaze perfected by the Korean potters in rudimentary form. The Chinese brought the techniques of celadon glazing and white porcelain during the Three Kingdom period. The ceramics technology underwent technical advancement as the workshops and kilns were under the control of the royal court. Gradually, Korean ceramics acquired individuality as they began introducing shapes and ornamentation to the transparent glaze. Novice decorative techniques were adopted, including moldings, metal inlays, and decorations over fine clay. The Japanese invasion of Korea led to the transfer of pottery knowledge that influenced its ceramics industry. The most distinct Korean ceramics style was the Sangam and Sgraffito design which entailed inlaid decorations using stamps instead of free hand like Chinese pottery.
References
Fosse, L. M. (2007). The Bhagavad Gita: the original Sanskrit and an English translation. YogaVidya. Web.
Kleiner, F. S. (2016). Gardner’s art through the ages. Book C, Non-Western art to 1300 (15th ed.). Cengage Learning.