Korean pottery and porcelain
Long periods of stability have allowed for the establishment of spiritual traditions, and artisan technologies specific to the region.
Many talented Korean potters were captured and brought to Japan during the invasions of Korea, where they heavily contributed to advancing Japanese pottery.
As rice cultivation widely spread, practical jars with handles on both sides were developed, which is called Misongri Togi.
Different gray colors and shapes of potteries baked at around 900 degree Celsius appears during Samhan period.
There are antlers, horns, horse motifs in stonewares, and they have left interesting objects like Roman soldier, Arabian, anteater and elephants.
Baekja wares came from highly refined white clay, glazed with feldspar, and fired in regulated and clean large kilns.
The transitional wares of white became expressions of the Joseon Dynasty celebrations of victory in many pieces decorated with Korean calligraphy.
Joseon enjoyed a long period of growth in royal and provincial kilns, and much work of the highest quality still preserved.
Celadon, white porcelain, and storage pottery were similar, but with certain variations in glazes, incision designs, florality, and weight.
[18][19] In contrast to the refined elegance of Goryeo celadon, buncheong is painted stoneware designed to be natural, unassuming, and practical.
[20] However, the buncheong tradition was gradually replaced by Joseon white porcelain, its aristocratic counterpart, and disappeared in Korea by the end of the 16th century.
[24] Qing colouring, brighter and almost Scythian in enamel imitation, was rejected by Korean potters, in favour of simpler, less decorated wares in keeping with a new dynasty that built itself on Confucian doctrine.
In 1592 during the Japanese invasion of Korea, entire villages of Korean potters were forcibly relocated to Japan, damaging the pottery industry as craftsmen had to relearn techniques because the masters were gone.
Buncheong casual wares also revived and became widely popular since it match with modern-day eco minimal trend.
Joseon dynasty was Seonbi philosophers or scholars' country, we can see how society affects trend of porcelains by time.
The majority of these tombs were reserved for members of the royal family and high-ranking officials, providing valuable insights into the burial practices and cultural nuances of the Koryö elite.
The interior consists of a single stone chamber adorned with mural paintings depicting secular and Buddhist motifs.
Some tombs, such as that of King Myöngjong, reveal a raised platform suggesting the interment of an extended body rather than cremated remains.
The coexistence of Buddhist iconography and Guardian Animals suggests a deliberate blending of ideologies, reflecting the pluralist nature of Koryö worldviews.
Some historical records suggest that stone boxes may have held cremated remains or artifacts, highlighting the diverse nature of Koryö burial practices.
While grave robbers have looted many tombs, intact findings, such as celadon wares, bronze rings, and coins, offer valuable insights into the types of artifacts interred with the elite.
Despite challenges posed by looting and the passage of time, ongoing archaeological research continues to deepen our understanding of this rich historical and cultural heritage.
Export occurred in two ways: either through trading or through invasion and theft of pottery and the abduction to Japan of families of potters who made the wares.
[26] The voluntary immigration of potters was improbable since Joseon pottery was administrated by the Ministry of Knowledge Economy (工曹).
