Journal of Korean Art and Archaeology Vol.11
2017. 01.
2577-9842
2951-4983
INTRODUCE
- WHITE PORCELAIN OF THE JOSEON DYNASTY
- Carrying on the tradition of offering articles on a special topic, this issue centers on porcelain from the Joseon dynasty (朝鮮, 1392–1910). Also included are articles on tombs of the Silla kingdom (新羅, 57 BCE–935), Buddhist temple architecture from the Joseon dynasty, and eighteenth-century portrait painting. Several of the papers include words and phrases that are not easily translated into English. It is hoped that the addition of Romanized terms, as well as Hangeul and/or Chinese characters will aid comprehension of them. To further understanding of the articles, some maps and diagrams have been specially produced. Bridging archaeology, history, and cultural studies, the articles on Joseon porcelain intersect questions of manufacture and use with issues of class, consumption, and economics. They rely heavily on recently excavated material, such as urban sites located in the center of Seoul that in Joseon times encompassed palace, temple, and government buildings in addition to licensed shops. The articles highlight the enormous popularity of Joseon porcelain among the upper and lower social classes alike. To open the issue, Jang Namwon’s article on collecting traces how in Joseon times porcelain was used and appreciated by a rising number of consumers in increasingly diverse ways, from ritual objects, functional tableware, scholar’s accoutrements, and ornaments to collectibles. The wide-spread want for ceramics even led to high-quality wares being pilfered from the official kilns and traded for profit. Jang makes use of a broad range of source material, from personal diaries and official court records to paintings of books and scholar’s accoutrements known as chaekgado (冊架圖) and munbangdo (文房圖), to highlight why the interest in ceramics as objects of appreciation and profitmaking developed in the early eighteenth century. Jang explains that prior to this time, a preoccupation with material goods was largely frowned upon as it was argued to conflict with the pursuit of scholarly and spiritual enlightenment. However, as attitudes changed so did approaches to local and imported ceramics from past and contemporary times, among them celadon stoneware from the Goryeo dynasty (高麗, 918–1392) and ceramics from Qing China (淸, 1644–1911) and Edo Japan (江戶, 1615–1868). Shifting approaches to objects led to ceramics being regarded as high-value goods that could be used and enjoyed in different ways. In her study on sixteenth-century Joseon white porcelain with Hangeul inscriptions, Kim Yunjeong brings attention to the use of porcelain within the royal palaces. The focus of the paper is white porcelain bearing either stippled or ink-written inscriptions excavated from sites located within the city wall of Seoul. Dating from the sixteenth to the eighteenth centuries, the Hangeul-inscribed vessels belonged to members of the royal family. Many were used within their private residences, such as kitchens, but others were for ritual and ceremonial functions. Kim Yunjeong’s treatment reveals that not all vessels used within the palace carry Hangeul inscriptions. Rather, it was primarily those that were in the private ownership of members of the royal family. The paper not only emphasizes the royal demand for porcelain, it also sheds light on how influential members of the royal family managed their private assets, including the supply of goods via the private royal treasuries, and addresses the impact this had on the production of white porcelain. Kim Hyejeong continues the discussion of the popularity of porcelain during the Joseon dynasty, also among those who by law were not allowed to own them. Kim’s research evidences how the strict sumptuary laws that regulated the consumption of porcelain were often circumvented, despite the government’s efforts to prevent this. The paper closely analyses fifteenthto sixteenth-century blue-and-white porcelain unearthed from sites within the Seoul city center and examines their use among those who lived and worked in the area at the time. The excavated finds prove that despite the production and use of cobalt-decorated porcelain being heavily regulated, a significant number of vessels changed hands outside the court. Kim reasons that some items, such as jars and cups, were probably gifted to court officials and other high-ranking members of the Joseon administrative system. However, embezzlement, theft, and private commissions were likely to be the main reasons why porcelain from official kilns circulated among the general public. Despite measures taken to prevent this, the demand was such that the outflow could not be stopped and even government officials sold official wares for private gain. The popularity and cultural significance of porcelain during the Joseon period is further highlighted in Woo Minah’s article on white porcelain decorated with underglaze iron-brown. Through in-depth analysis of historical sources and recent excavated finds, the author demonstrates that such wares were manufactured at the official kilns from the mid-fifteenth to the nineteenth century. Having grouped the objects into three distinct phases, Woo verifies that the official production of ironpainted porcelain was closely linked to that of cobalt-blue wares, to the extent that iron oxide was used as a replacement for cobalt when the latter could not be obtained. This was especially so in the decades that followed the Japanese and Manchu invasions of the Korean Peninsula as shortage of cobalt led to an increased demand for iron-painted porcelain. In the late eighteenth and nineteenth centuries, the official production of porcelain decorated with underglaze iron-brown witnessed its last heyday triggered by consumers who wanted more decorative and flamboyant wares. Woo argues that this was in part due to the import of polychrome wares from Qing China and that it led to official kilns using iron oxide more profusely than ever before, often in combination with cobalt-blue. The three articles included in the Feature section present different treatments of material from Silla to Joseon times. Kim Daehwan offers a thought-provoking account of Japanese archaeologists’ excavations of Silla tombs during the colonial period (1910–45). In detailing current efforts to reinvestigate their methodologies and findings, the paper highlights the enormous tasks and challenges that continue to face scholars of early Korean material. Focusing on Geumgwanchong Tomb (金冠塚, Gold Crown Tomb), which was first discovered and analyzed in 1921, Kim Daehwan accounts for why the tomb was re-excavated in 2015 by archaeologists from the National Museum of Korea and Gyeongju National Museum. Having rectified earlier erroneous conclusions on its construction and tomb artifacts, the re-excavation led to several new insights into the construction of Silla tombs, including how its layout may have played a central role in the performance of mortuary rituals. It also presented important clues as to the identity of King Isaji (尒斯智王) and why swords bearing his name were found inside the tomb. Song Unsok’s paper brings the focus back to the Joseon dynasty. Drawing on historical sources and detailed studies of temple halls, the author accounts for how the Japanese invasions of the sixteenth century brought about changing attitudes to Buddhism and he traces the impact this had on vernacular architecture. Song argues that in a severely weakened Joseon society, the Buddhist clergy offered consolation and this served to strengthen the social role of Buddhism. The performance of death rites proved especially popular among laypeople, leading to a rising number of Buddhist believers and patrons who frequented temples. This called for larger halls that could accommodate them, and among other developments it led to the use of wooden as opposed to brick floors. It also initiated changes to the size and height of the main altar as well as to the Buddhist sculptures positioned on it. Questions of how social change shaped cultural production also forms the focus of Chang Jina’s paper. Chang’s research on an important eighteenth-century portrait album in the collection of the National Museum of Korea examines the special circumstances that led to its production. The album illustrates the eighteen successful passers of the military division of the special state examination, known as the deungjunsi (登俊試). The album is unusual for several reasons. It depicted successful examination passers in album format, was commissioned by King Yeongjo (英祖, r. 1724–1776), and was stored in the palace. Chang argues that this break with convention was caused by the manner in which the king viewed his role in relation to past rulers and current subjects. King Yeongjo attached great importance to the commemoration of ancestors and strove to restore the glory of the Joseon dynasty. Celebration of those who passed the deungjunsi played an important role in this, hence the production of the album and its special place of holding. To close the issue, Kwon Sohyun returns to Joseon porcelain with a paper that explores the relatively under-researched topic of inlaid white porcelain that was manufactured at official kilns during the early Joseon period. Few such wares have survived till today and since only a small number of them are from excavated sites, little is known about their date of production and use. Kwon throws much light on the topic with her detailed analysis of a cup and stand, now in the National Museum of Korea in Seoul. Of particular significance is the fact that the stand carries an inscription of “Taeiljeon” (太一殿), which was the government office in charge of conducting Taoist rites to the North Star. Through close examination of historical sources that bear mention of Taeil and Taeiljeon as well as stylistic analysis of the inlaid design, Kwon establishes that the cup and st…
COPYRIGHT & LICENSE
- Charlotte Horlyck(Chair of the Centre of Korean Studies, SOAS, University of London)
The Journal of Korean Art and Archaeology (JKAA), launched in 2007, is a key English-language publication for research on pre-modern Korean culture. It helps make Korean scholarship accessible to a global audience by translating crucial articles. The latest issue focuses on Joseon dynasty porcelain and includes studies on Silla tombs, Buddhist temple architecture, and eighteenth-century portrait painting. Articles explore class, consumption, and cultural shifts, supported by maps and diagrams. Key findings include porcelain's widespread popularity, use as ceremonial objects, and the impact of social changes on cultural production. The National Museum of Korea backs this journal as part of efforts to promote Korean art and archaeology globally.
- Jang Namwon(Professor, Ewha Womans University)
Throughout the Joseon period (1392-1910), there was a longstanding belief called "wanmul sangji," which discouraged becoming overly attached to objects to avoid losing spiritual selfhood. By the 18th century, perceptions had shifted, recognizing objects' value alongside human pursuits, leading to a burgeoning interest in material culture. This interest extended to ceramics, which transitioned from mere royal and ceremonial use to collectibles admired, traded, and gifted. Ceramics became a symbol of status and culture, with their provenance and history meticulously recorded. These objects were not only decorative but instrumental in academic and literary circles, forming a key part of personal collections and scholarly environments. The cultural shift saw a broader recognition of ceramics beyond their functional uses, establishing them as treasured objects subject to collection, appreciation, and discussion.
- Kim Yunjeong(Professor, Korea University)
In recent years, many white porcelain vessels with Hangeul inscriptions have been unearthed from governmental and royal sites in Seoul. These inscriptions, typically added post-manufacture, are categorized by vessel quality and inscription method: high-quality items often bear stippled and Chinese character inscriptions, while ink inscriptions appear on lesser-quality pieces. They generally indicate ownership or use location within the royal court. This study of Hangeul inscriptions aims to elucidate their significance and correct prior misunderstandings. Inscriptions such as "utsyo," "keunsyo," "daesyo," and "dongsyo" denote connections to royal kitchens or private properties, and are believed to have emerged in the 16th century under King Jungjong. Over time, changes in quality, inscription placement, and additional cyclical year names occurred, indicating shifts in usage and manufacturing practices. These inscriptions not only reflect the vessels’ intended use but also suggest their role in managing royal private assets, marking them as royal property and reducing loss.
- Kim Hyejeong(Myongji University)
In the 15th-16th centuries, blue-and-white porcelain (cheonghwa baekja) in Joseon was exclusively used by the royal court and ruling class, making extant examples rare. Recent urban development in Seoul uncovered large quantities of Joseon ceramics, especially in Cheongjin-dong, offering insights into its broader use. Study shows significant findings of porcelain jars and dishes with motifs like plum and bamboo, indicating both official and unofficial uses of these wares, despite official restrictions.
- Woo Minah(Lecturer, Hongik University)
The study examines the evolution of Joseon's white porcelain decorated with underglaze iron-brown, also known as cheolhwa baekja, a style that used iron oxide for decoration due to its availability and challenges in cobalt procurement. Initially, it substituted cobalt in royal porcelain when imports were unstable, from the 15th to 16th centuries. In the 17th and early 18th centuries, it dominated royal wares with varied motifs. From the late 18th century, iron and cobalt pigments enhanced aesthetics, reflecting consumer preferences for vibrant polychrome wares influenced by Chinese and Japanese ceramics. This research highlights the adaptability and aesthetic development of cheolhwa baekja over the Joseon period.
- Kim Daehwan(Associate Curator, Cultural Heritage Administration)
Research on tombs from the Silla kingdom began during Japan's colonial rule, sparked by the accidental discovery of the Geumgwanchong Tomb in 1921. This tomb, named for a gold crown found on site, set the stage for understanding Silla burial practices. Initial investigations by Japanese archaeologists met challenges but laid a foundation for future research. A re-excavation in 2015 revealed new findings, enhancing the comprehension of Silla's burial structures and practices. Key discoveries included multiple swords linked to "King Isaji," although this king's identity remains elusive. The tomb's architectural details suggest it served as an altarlike structure for royal burial ceremonies, reflecting the residence of the deceased.
- Song Unsok(Professor, Dongguk University)
This text explores how Buddhist art, particularly sculptures and altars, evolved during Korea's Joseon dynasty. Initially created to aid religious enlightenment, these artworks were reimagined due to changing societal roles and temple layouts. Post-16th century, Buddhist altars grew larger to accommodate more offerings and participants, while sculptures were raised higher on altars. These changes affected their appearance, with lowered heads and hunched shoulders becoming prevalent—artistic adaptations ensuring worshippers could comfortably view the icons from below.
- Chang Jina(Associate Curator, National Palace Museum of Korea)
The "Deungjunsi Portrait Album" from Korea's National Museum features half-length portraits of 18 successful candidates from the military division of a special state exam, the Deungjunsi, held in 1774 by King Yeongjo. Unlike regular exams, this special exam aimed to promote loyal officials to higher positions, aligning with Yeongjo’s vision to emulate past rulers' accomplishments. The album, a rare government exam-related collection, signifies how King Yeongjo sought to strengthen loyalty among officials by honoring them akin to meritorious subjects.
- Kwon Sohyun(Associate Curator, Jeonju National Museum)
The early Joseon period ceramics (1392–1910) features white porcelain and buncheong ware with the former evolving from the inlaid celadon of the Goryeo period (918-1392). White porcelain is divided into soft-paste, following Goryeo techniques, and hard-paste mirrored on Chinese methods. Joseon white porcelain included diverse decorations, such as inlays and underglaze painting. The Taeiljeon-inscribed cup and stand, found in the National Museum of Korea, dates back to the 15th century. It reveals clues about its production and use, mainly for government rituals related to the deity Taeil, a fixture in Taoist rites throughout the Joseon dynasty, even amidst Confucian influence. The Taeiljeon cup's design and production evidence highlights Joseon's ceramic evolution, marking a shift from Goryeo celadon to Confucian-aligned white porcelain, enriched through studies of its production period and designs.