What kind of bowls do Koreans use?

North Korean porcelain is one of the precious cultural treasures of North Korea, which was fired during the Korean Dynasty (918-1392). Korean porcelain can be divided into celadon, white porcelain, black porcelain, chestnut porcelain, inlaid porcelain, decorative porcelain, painted gold porcelain and so on according to color and decoration techniques. It began to develop from celadon and white porcelain in the 10 century, passed through the heyday in the1-12 century, and continued to various colorful development periods in the 13- 14 century.

There are cups, bottles, bowls, plates, pots, flowerpots, stoves, inkstones and so on. Not only are there many varieties, but also the shapes are strange and novel. Most Koreans imitate the porcelain shapes of animals and plants. This can also be seen from the imitation of fish, turtle, dragon, mandarin duck, melon, lotus and gourd by Korean porcelain such as pots, plates and cups. There are also many handles, handles and covers that imitate the shapes of various substances. For example, the handle of a pot or jar is shaped like chrysanthemum or faucet, the handle of the pot is shaped like bamboo or grapes, and the top cover of the incense burner or pot is shaped like lion, duck and goose.

Feature editing

The most striking feature of Korean porcelain can be said to be its bright colors. Korean porcelain has won the praise of the world for its unique color since ancient times. The color of Korean porcelain is blue (emerald). It is a light and soft cyan, shiny and noble, which can arouse people's deep interest. Koreans chose the emerald color, which is as bright as the clear sky and gives people a warm feeling, and the inherent and unique color that conforms to Korean national taste and life experience, and fired Korean porcelain.

According to the proportion of clay and glaze, the relationship between them, the performance of the kiln, the quality of firewood and the proficiency of the potter, the color of Korean porcelain changes into wonderful colors such as turquoise, turquoise, greenish gray and yellowish green. Therefore, the beautiful emerald color can only be obtained by the Potter's long-term experience and skilled skills. So the secret color means that only a few famous potters in Korea have the inherent "secret" color.

Korean porcelain, together with colors, is famous for its unique and beautiful patterns. The patterns include willow branches hanging from the lake, wild ducks playing together, clouds rising in groups, flying white cranes, blooming flowers and lush pine trees, which vividly reflect the beautiful natural scenery. The decorative patterns of all Koryo porcelains are warm, showing the image of plastic arts. The beauty, slender and exquisite shape of decorative patterns are related to the skillful use of various image technologies by Koreans.

Process editor

Koreans use mother-of-pearl inlay and gold mother-of-pearl inlay ceramic technology, thus widely using inlay technology. The so-called mosaic technology is to dig a groove on the ceramic surface according to the pattern, fill it with various colors of soil, then coat it with glaze and fire it. This will create a three-dimensional sense of the pattern.

The firing process of editing mosaic method

In the process of inlaying and firing in the furnace, clay turns white, purple soil turns black and cinnabar turns red. This is the first time that Koreans invented it. In particular, the inlaid celadon, because of its bright and soft color, can vaguely see the pattern of emerald glaze, arousing the unique aesthetic feeling that can not be seen in color painting. The beauty of Korean porcelain is reflected under the strong influence of the aristocratic ruling class of that era, but elegant Korean porcelain obviously has the unique style of Korean aristocrats. In contrast, the simple and dignified beauty of North Korean clay porcelain is directly related to the lifestyle and attitude of North Korean military and non-military upper class who pay attention to practicality rather than luxury. As an excellent national heritage, owning Korean porcelain is the pride of the Korean nation.

Koryo celadon editor

Celadon cinnabar inlaid gourd-shaped pot

Celadon cinnabar inlaid gourd-shaped pot

Beautiful and exquisite Koryo celadon is a masterpiece of Koryo dynasty porcelain. It was developed under the influence of China celadon in the Tang and Song Dynasties, and it was a symbol of aristocratic material and cultural life. Some top grades can be compared with Ru kilns in Song Dynasty in China. High-temperature gray glazed pottery was produced in the unified Silla era, and celadon developed rapidly in the Koryo era and was deeply influenced by Yueyao. After a large number of Song porcelains were imported at the end of 10 century, they were deeply influenced by Ruyao in northern China and Longquan kiln in southern China. South Korean celadon began to show a dark green jade style, with chrysanthemum patterns and Tang grass patterns as the main decorative patterns, and its shape won with elegance and comeliness, without the bold exaggeration of Song porcelain. Since the12nd century, the development of South Korean celadon has reached its peak, and the glaze color combines the technological characteristics of Ruyao and Longquan kilns. The products are similar to Longquan kiln and Ru kiln, such as plum green, wormwood, pink green, azure, moonlight white, etc. The most important achievement is to burn out beautiful emerald tones. The vessel is light and smart in shape, skillfully combined with carved patterns and ornamentation such as peony, lotus, Tang grass, bamboo joint and waterfowl, which is more harmonious and perfect. Bionic porcelain is the charm of Korean porcelain. Figures, mandarin ducks, lions, ducks, unicorns, Capricorn, dragons, phoenixes, fish, turtles and other animal images are filled with water, ink drops, incense sticks, pen holders, and various utensils with plant images such as pumpkins, pomegranates, bamboo joints, lotus flowers and gourds, which are lifelike and exquisitely carved, reflecting the artistic tradition of the Korean people advocating nature.

The production of North Korean celadon was directly managed by the imperial official "Kiln Records". In particular, the kilns in Shatangli with big mouth in Jin Kang County of Jeollanam-do and Liuchuanli with security in Fuan County of Jeollabuk-do are the most famous. Its celadon products are only for the upper class aristocrats, and the utensils should be gorgeous, not seeking quality and quantity, regardless of cost. Celadon flower pile (makeup flower pile), through carving (hollow carving), elephant inlay (inlay), vermilion (high temperature copper red glaze), elephant inlay gold (inlaid gold) and iron painting (brown) are widely used, either alone or in multiple ways. Celadon melon-shaped bottles and square tables unearthed in the Changling mausoleum of Renzong are similar to the elegance and tranquility of celadon in the Song Dynasty, while celadon carved seven treasures incense burner, celadon carved Tang grass pattern box, celadon inlaid tortoise shell pattern cover, celadon carved Shuanglong pen insert, celadon turtle-shaped puddle note and celadon piled Hualien Tang grass pattern water note are gorgeous and exquisite, surpassing Song porcelain and comparable to gold and silver crafts.

Celadon wicker waterfowl inlaid water bottle

Celadon wicker waterfowl inlaid water bottle

Feature editing of Korean celadon

First, the color is beautiful, bright, elegant and soft. In particular, the color of jadeite celadon is neither all green nor all green, but the color of turquoise, which is shiny, elegant, exquisite and wonderful. North Korean poet Li Kuibao praised North Korean celadon in his poems: "The shadow is as clear as sapphire and exquisite as crystal", "The secret jade is as tender as skin, and the tentacles are like caressing jade skin".

Secondly, the decorative patterns are elegant and interesting.

There are many kinds of patterns, unique tone and color matching methods, and dense and slender pattern structures. Patterns include figures, animals, plants, natural scenery, symbols, figures and so on. What is striking is that people choose themes in the nature of life, and the animal and plant patterns also reflect the wishes and longings of Koreans.

Third, the decoration technique is unique.

Various bird and plant patterns, such as cranes and mandarin ducks, are full of movement and interest.

Fourth, the shapes are diverse and beautiful.

There are many kinds of celadon in Korea, including lamps, bowls, bottles, large bowls, plates, cans, jars, flowerpots and vases. The same variety has different shapes. Take dishes as an example, there are big, small, high, short, round, 8-angle, 10 angle and so on. In particular, "Yunhe pattern celadon bottle" and "boy pattern celadon pot with vine pattern" are vividly portrayed and famous all over the world. [ 1]

Korea inlaid celadon appraisal editor

Korea inlaid celadon is a major feature of North Korean porcelain. On the molded blank, a decorative mold is pressed on the tire, or a groove with a depth of about 2 mm is carved with tools such as wood, bamboo and iron, and white or black cosmetic soil is filled according to the needs of the pattern, then the tire is repaired, green glaze is applied, and fired in a kiln, thus forming this unique ceramic variety. The production age of Korean inlaid celadon is mainly from the second half of the 2nd century to the first half of the 3rd century.

The earliest inlaying celadon probably originated from the inlaying process of gold, silver, copper, lacquerware, wood and mother of pearl. The author thinks that the mosaic technology of Korean celadon may have originated from Hunyuan kiln in Shanxi, China. This is because, judging from the pieces of inlaid celadon unearthed from Hunyuanyao site, the mosaic technology is consistent with that of North Korea. The stratum where these fragments are located belongs to the Jin Dynasty stratum, but from its pattern style, it has obvious characteristics of the Liao Dynasty. Therefore, it belongs to the early artifacts of the Jin Dynasty, which is earlier than the time when North Korea inlaid celadon appeared. In addition, judging from the history of the relationship between North Korea and Liao and Jin Dynasties, the two countries have close relations and frequent exchanges, and the theme ornamentation of North Korea inlaid celadon, such as crane pattern and water bird pattern, was obviously influenced by Liao Dynasty.

In the face of the mixed authenticity of South Korean inlaid celadon, how to identify it? From the archaeological and handed down data, it can be roughly identified from the following aspects.

systems modelling

South Korea's inlaid celadon can be roughly divided into food containers, wine containers, stationery, utensils, common bottles, pots, pots, bowls, cups, boxes, pillows and so on. Generally speaking, its shape is vigorous and its lines are soft and smooth. Take plum bottle as an example, it is good at bending, and the small dish-shaped bottle mouth is very distinctive, but most imitations lack the proper bending beauty, and their shapes are more or less stiff, especially in the treatment of the mouth edge and feet of utensils, which are far less natural and smooth than the real ones. The lines at the joint of lips and walls are stiff, and most of them have obvious angles: the circle feet are slightly higher than before, and the foot walls are thinner than before.

Fetal glaze

Authentic tire soil is gray or grayish yellow, and a few thin tires are hard, and the sound is rich and dignified. Most of the tires are not very hard, and their age should be earlier than that of the thin tires with hard carcass in the late Koryo period, with moderate weight, while most of the tires with loose weight are slightly lighter. Some modern imitations have a high degree of porcelain of the whole carcass due to the fine elutriation and high temperature of the tire soil, and the tire soil obviously emits white porcelain or bluish gray, which is caused by the high degree of porcelain. The other part of the imitation, the fetal quality is too loose, although the shape is clumsy, but the weight of the carcass is too light, which is unbalanced.

A few fine glazes inlaid with celadon in Korea are green in color, most of which are light azure, and some rough products are poor in the later stage. Some rough products are also fired directly on the sand bed, with good glaze color on the back and poor glaze color on the fire surface. However, whether it is fine or rough products, the glaze color is thick, smooth, natural, soft and pleasing to the eye, and some large vessels will also have uneven glaze color and glaze accumulation, such as celadon inlaid in Anhui Museum. However, most of the unearthed objects are eroded by underground water and soil, and most of the imitations of fetal glaze that have penetrated into the objects are thin, with strong glass texture and strong vitality. In terms of glaze color, domestic imitations are mostly green with yellow; Korean imitations are blue with green, and color is more important than real ones. Some imitations are bitten by strong acid to remove the floating light, but the glaze completely loses its smooth effect and looks dull and depressed. In order to achieve the effect of imitating unearthed objects, some imitations are dull and astringent. The method of short-term burying in soil or cesspit is adopted to make the soil seep shallowly and it will be washed away. At the opening, the soil only oozes out shallowly, forming a yellow line, but it cannot penetrate into the muscle.

Most of the glazes inlaid with celadon in Korea are irregular covers, and the pieces are mostly distributed in piles. There were relatively few pieces of glaze inlaid with celadon in early Korea, and the pieces became more and more dense after 12 century. Because the shrinkage of white or black cosmetic soil embedded in the tire is greater than that of the carcass, the embedded part is often lower than other parts after firing, and the piece formed along the embedded texture is different from other pieces. Looking at the light at the opening inlaid with decorative patterns, there is often a mica-like luster, which is the uniqueness of Korean celadon inlay. However, the imitation glaze is rarely opened, the inlay powder is thinner than the real one, and there are fewer openings in the inlay. Even if there is an opening, there is no mica-like luster at the opening. This is one of the important means to identify the authenticity of Korean inlaid celadon.

vignette

South Korea's early decorative patterns of inlaid celadon are sparse, fine and prominent: they tend to be dense in the later period and loose in the later period. Generally speaking, its decorative layout pays attention to symmetry and balance, so it seems that some patterned decorative themes mainly include crane pattern waterfowl pattern, willow pattern peony pattern, dragon pattern grape grain litchi pattern baby play pattern and so on. And auxiliary decorative patterns, including the most representative crane-painted celadon patterns in Liao and Song Dynasties in North Korea, such as Tang grass patterns and palindrome patterns. The effect on porcelain is as natural and free as a brush. Craftsmen use white to represent the crane's body, and black to represent the crane's mouth, eyes, tail feathers and legs, which is more realistic. Most of the crane patterns spread their wings through the clouds, some spread their wings, some look back, some dive down, some lead their necks into rings, and the layout is concise and appropriate, especially the neck of the crane pattern is extremely soft, dynamic and imitation.

Most of the white powder embedded in the mosaic pattern is white with yellow, and a few of the white powder embedded in the modern imitation is due to the influence of green glaze, probably due to raw materials and technology. Most of the black inlays of cream white genuine products contain fine submicron magnetite cubic crystals of ilmenite and anorthite needles, which can only be embedded in the tire soil after being refined by molten acetylene or other methods, so the modern imitation color of firing is deep and bright. Due to the differences in raw materials and technology, black is far less than modern imitation.

There are also some rough imitations, whose black lines on white background are not embedded in the carcass at all, but are painted on the porcelain tires with black on white background, which is easier to see.

Firing process

The firing of Korean celadon inlaid in Dragon Kiln. According to historical records and excavation reports of Korean kilns, Korean celadon kilns were introduced from Zhejiang, China. Some fine products of Longyao are made of China's M-shaped saggers. In the firing process, white silica seeds are used as Zhi Ding, and the Zhi Ding is relatively large. Most people still have traces of white silica on their feet after firing. This is a major firing feature of Korean celadon. In addition, most utensils are fired directly on the sand bed. After firing, there are sand marks on the feet and the bottom of some utensils. The sand is coarse and white. The fine silica sand ring is full of glaze. The soles of some relatively late bulky items or rough products are mostly exposed, and flint red is obvious, while most imitations are full of glaze, but most of them have no or no obvious burn marks. It is also significantly smaller than the genuine product. The author once saw the essence of an imitation, and also used foot binding to burn it, and also used stones as Zhi Ding. Judging from the firing technology alone, it is very similar to the real thing, but I don't know whether it is the negligence of the imitator or the lack of raw materials. The burnt stones are not white silica seeds, but imitations are all sand. Compared with the genuine products, the imitations have finer grains of sand and a few imitations are more regular. They are not produced by direct firing on a sand bed, but are deliberately used.

In a word, modern imitation Koryo inlaid celadon can't get rid of contemporary limitations in many aspects, such as raw material use, technology and production, and always reflects some characteristics of modern ceramics more or less. At the same time, in the process of imitation, most imitators have never seen the real thing, but only imitate it according to the catalogue, which often ignores one thing and cannot coordinate all aspects of the real thing. Therefore, in the process of identification, we should start from its basic characteristics and typical characteristics, comprehensively analyze its various characteristics and pay attention to its details.

There are few objects inlaid with Korean celadon, which are mainly collected in Liaoning, Beijing, Jiangsu, Zhejiang and some large museums or archaeological research institutes at home and abroad. Only a few are scattered among the people. A few years ago, a small amount of North Korean inlaid celadon flowed from North Korea to China, but in the past two years, it has been difficult to identify the real North Korean inlaid celadon. Just like identifying other porcelain, we should look at an object from all aspects, focus on the overall situation, start with small hands, and avoid being impetuous and not being a seller.

Porcelain history editor

The research, innovation and development of celadon mosaic technology is the greatest contribution of the Korean nation to the world ceramic art. Although China invented and fired black glaze carvings and colored porcelain as early as the Tang Dynasty, it did not develop. It was Korean potters who learned and used this technique, which was widely used in celadon (also used in white porcelain and black porcelain) and developed into multicolor. /kloc-since the middle of the 0/2nd century, inlaying has become the mainstream of celadon decoration, with fewer figures. The plum blossom bottle inlaid with celadon figures in the12nd century in Ewha Women's University Museum is a representative. He also created golden cinnabar inlaid celadon, which pushed the art of inlaid celadon to the extreme. /kloc-In the 4th century, Korean celadon declined and was replaced by pink celadon in the late Li Dynasty.