British Museum blog

London, a world city in 20 objects: Korean moon jar

Korean moon jarSascha Priewe, British Museum

Conventionally known as ‘moon jars’, dalhangri in Korean, because of their suggestive shape and milky-white glaze, these vessels are considered a high point of Korean ceramic production during the Choson period (1392-1910).

Korean moon jar

Korean moon jar

This jar in the British Museum is one of only 20 such vessels remaining in the world. It stands 47 cm high and was produced in around 1650-1750. It was made by joining the separately thrown top and bottom sections together, thereby creating a visible joint at the centre. Although there is no firm evidence about the use of moon jars, it has been proposed that food or drink may have been stored in them or that they held flowers.

Moon jars have recently become popular in Korea and abroad. These vessels have inspired a broad movement in contemporary Korean art. Some artists, such as the famous ceramist Park Young-sook (b. 1947), whose modern moon jar is also represented in the British Museum’s collection, have recaptured their aesthetic and technical accomplishment; while others feature moon jars as a motif in paintings, photography and art installations. In this way, moon jars have become to be an icon of Korean art.

During the Choson period, Confucianism became the dominant ideology of the upper class. A moral philosophy, Confucianism governed the conduct of social relationships, and it still remains important today. It also had an impact on Choson-period aesthetics by encouraging a preference for restraint in decoration and likely contributing to the popularisation of plain white ceramics. The moon jar with its imbalance and minor imperfections in the white glaze epitomises this approach towards objects.

The British Museum’s Choson moon jar has a special connection to the United Kingdom. It was acquired by the British potter Bernard Leach (1887-1979) during a trip to Korea in 1935. Leach, who is often regarded as the ‘father of British studio pottery’, took much inspiration from certain East Asian ceramic traditions and incorporated aesthetic sensibilities, such as “nobility, austerity, strength, and warmth” that he identified, into his works. Decidedly anti-industrial, British studio potters strove to re-discover traditional artisan pottery – the ‘peasant pottery’- that Bernard Leach found resonated with many of the East Asian pieces he venerated. It is tempting to think that the British Museum’s moon jar from Korea helped to define the aesthetics of British studio potters.

This was first published in the London Evening Standard on 20 December 2012.

The Korean moon jar is on display in Room 67: Korea

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  1. magdalenazdreem says:

    Reblogged this on Maria-Magdalene's Reflections and commented:
    The Korean Moon Jar is a wonderful piece of my personal history and the history of one of my favorite places in the entire world!

    Like

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Happy 134th birthday @natural_history_museum! Here’s the British Museum before the natural history collection moved to South Kensington
#giraffe #history #BritishMuseum #museum Most Greek sculpture that survives from antiquity is carved from white marble, of which the Mediterranean has many natural sources. A relationship has often been assumed between the pure white of freshly cut marble and the idealism of Greek art. In fact, the opposite is true. Colour was intrinsic to ancient ideas of beauty. For centuries this has been a subject of fascination and controversy. The great Italian Renaissance sculptor Michelangelo revived the Greek idea of the human body but denied the use of colour. This was partly due to negative associations with the painted saints of the medieval period. During the European Enlightenment of the 1750s onwards, and increasingly into our own time, the preferred aesthetic was a truth to materials. Painting and gilding were seen as unnecessary and undesirable.

Sculpture in antiquity was often adorned not only with colour but also with different materials. The Greek marble statue of an archer reconstructed here was drilled and fitted with metal attachments. The figure originally held a bronze bow and arrow and a quiver was fixed to his left hip by a metal dowel. Individual locks of hair were made of lead. The colourful design of the man’s knitted all-in-one garment, often worn by peoples from the east, is clearly seen weathered into the marble surface under controlled lighting.

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Plaster cast of archer with reconstructed paint, based on a Greek original of about 490–480 BC, from the Temple of Aphaia at Aigina. Staatliche Antikensammlung und Glyptothek, Munich. Uta Uta Tjangala's masterpiece Yumari is a highlight of‪ #IndigenousAustralia, opening a week today
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To make more room for the increasing collections held by the British Museum, the natural history collections were moved to a new building in South Kensington in the 1880s. This eventually became the Natural History Museum. These images show some of the natural history specimens on display, including giraffes and a mastodon!
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This drawer was once part of the materia medica - a sort of pharmaceutical cabinet - in the collection of Sloane. The cabinet had several drawers, each carefully constructed to keep out destructive insects. Some drawers had small compartments like this example, others contained glazed boxes with seeds, fruit, bark, roots, gums and resins inside. Each had a label written by Sloane with a catalogue number. The botanical or medicinal name of the subtance, where it came from and who collected it were then recorded in his catalogues of his collection.
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This engraving after a portrait  by T Murray shows him at the age of 68. The inscription at the bottom can be translated as: 'Sir Hans Sloane, baronet / Pres[ident]. of the College of Physicians of London and the Royal Society. etc.'
Sloane was born in Ireland in 1660, and trained as a doctor of medicine. At the age of 27 he went to the West Indies as personal doctor to the Governor of Jamaica and while living there he began to form his great collection of natural history specimens. For the rest of his long life he collected plants, fossils and minerals, as well as objects from ancient Rome, Egypt and Assyria. He also amassed an impressive collection of books, manuscripts, prints and drawings.
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