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

If you would like to leave a comment click on the title

Filed under: Collection, London: a world city in 20 objects, , , ,

One Response - Comments are closed.

  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!


Enter your email address to follow this blog and receive notifications of new posts by email.

Join 14,539 other followers


Follow @britishmuseum on Twitter

British Museum on Instagram

These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684.
The drawing was intended for figures in one of Watteau's many scenes where men and women feast in the countryside, talking, flirting and making music. The costume is the main focus of Watteau's studies. The woman is seated on the ground so that her elaborate dress spreads out around her. This provides the artist with an excuse to study the movement of the drapery according to the different positions of her body. The play of light and shade, especially the strong shadows which the model casts, sets off the figure very clearly. Watteau, with red chalk alone, has studied the fall of light from the upper left on the complex drapery patterns. The drawing is remarkably detailed and controlled.
Antoine Watteau, Five studies of a seated woman seen from behind. Drawing, France, about AD 1712-15.
#drawing #art These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684.
This is a rare type of drawing by Watteau, who used black chalk to strengthen the shadows and the darker lines of the stronger contours. The hands themselves are cast into relief by their shadows on the paper. The red chalks, of course, suggests the real flesh of the model in front of him, and was a favoured technique, in combination with black and white chalks, of French eighteenth-century artists. The drawing's expression lies in the position of the hand and not so much in its details. Although the hands are fully modelled there is still a stark, bare quality to them. They are economical, almost abstracted.
Antoine Watteau, Three studies of open hands. Drawing, France, about AD 1717-1718.
#art #drawing These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684. Watteau has used his favourite combination of black, red and white chalks. This technique 'à trois crayons' became widely used by French artists of the eighteenth century. With all of the chalks Watteau made stronger lines alongside thinner ones to provide texture. He then shaded in between these lines or rubbed the chalk with his fingers. Like most of Watteau's drawings from a live model, this sheet possesses a great sense of fluency, immediacy and freshness.
Antoine Watteau, Four studies of a young woman's head. Drawing, France, about AD 1716-1717.
#drawing #art Room 95 includes some of the finest Chinese ceramics in the world dating from the 3rd to the 20th centuries, from the collection of Sir Percival David. Some of the ceramics are unique creations, while others were mass-produced in batches of several hundred at a time. Technological innovations and the use of regional raw materials mean that Chinese ceramics are visually diverse.
Porcelain was first produced in China around AD 600. The skilful transformation of ordinary clay into beautiful objects has captivated the imagination of people throughout history and across the globe. Chinese ceramics, by far the most advanced in the world, were made for the imperial court, the domestic market, or for export.
#China #ceramics These white wares date from the late Ming to Republic period (1600–1949). Potters in the late Ming, Qing and Republican periods made copies of Ding wares at Jingdezhen in Jiangxi province, Zhangzhou in Fujian province and in other southern kilns. Potters at Zhangzhou under-fired the clay, which resulted in a ‘rice-coloured’ body. They then covered the ceramics either with a white slip and thin clear glaze or with an opaque white glaze.
See these amazing ceramics alongside nearly 1,700 objects from the collection of Sir Percival David in Room 95.
#ceramics #China Collector of Chinese ceramics Sir Percival David died #onthisday in 1964. He built the finest private collection of Chinese ceramics in the world. His passion for China inspired him to learn Chinese well enough to translate 14th-century art texts and to give money towards establishing the first public display of Chinese ceramics at the Palace Museum in Beijing. He was determined to use his own collection to inform and inspire people and to keep it on public view in its entirety. His collection is on long-term loan to the British Museum and has been on display in Room 95 since 2009.
Explore nearly 1,700 objects from Sir Percival David’s incredible collection in Room 95, including some of the finest Chinese ceramics in the world, dating from the 3rd to the 20th centuries.
#China #ceramics

Get every new post delivered to your Inbox.

Join 14,539 other followers

%d bloggers like this: