Buncheong, or punch'ong, ware is a traditional form of Korean stoneware, with a blue-green tone. Pieces are coated with white slip (ceramics), and decorative designs are added using a variety of techniques. This style originated in the 15th century and continues in a revived form today.
Buncheong
Buncheong Ware with Inlaid Dragon and Stamped Design, Joseon Dynasty, National Treasure No. 259
Buncheong is a contemporary term for a specific type of traditional Korean stoneware that developed in the 15th century, during the Joseon Dynasty, as Goryeo celadon techniques and subject matter evolved.[1] Buncheong ware developed from the earlier Goryeo celadon inlay technique called sanggam and rapidly distinguished itself.[2][3] In contrast to the refined elegance of Goryeo celadon, buncheong is designed to be natural, unassuming, and practical.[4] This style is characterized by its pale blue-green color and decorative techniques, which involved shaping the clay and then covering it in white slip (ceramics) and decorating it by carving, stamping, and brushwork.[5][6]
Buncheong style initially lasted for a little over a century in Korea. In its heyday, buncheong ware pieces were exported to Japan by practitioners of the Japanese tea ceremony.[7] The Japanese invasions in the 1590s caused extensive economic devastation to Joseon-era Korea, including the development of the ceramic industry.[8] Hundreds of Korean ceramic artisans were killed or abducted, and taught the Japanese to produce their own porcelain, causing the simplification and decline of native Korean ceramics.[9] It all but disappeared from Korea after the 16th century, partially due to the popularity of Joseon white porcelain.[10] While the production of buncheong ware in Korea declined and was outpaced by porcelain, stoneware featuring buncheong-derived aesthetic elements continued to be produced in Japan, where it became known as Mishima pottery, simultaneously with porcelain. In Japan the two were seen as separate forms of expression, neither substituting for the other.[11]
Buncheong style continued to be used in Japan as tea ceremony ware, but only experienced a revival in Korea in the 20th century. Also during the 20th century, elements of buncheong's aesthetics reached Europe and the United States through Bernard Leach, Shoji Hamada, and other artists who were knowledgeable in Asian ceramic traditions.[12] Buncheong continues to inspire artists to this day, and both Japanese and Korean artists work with buncheong techniques.[13]
Buncheong is characterized by the use of dark, iron-bearing clay covered in white slip and a clear glaze. Various methods can be used to apply decoration and pigment on the slip or draw through the slip to reveal the dark clay beneath it.
Buncheong is distinct from other forms of Korean ceramic ware, such as Goryeo celadon and Joseon white porcelain, in various ways which are more related to aesthetics and underlying sentimentality than to technique. Its unconventional beauty is easily distinguished from the elegance of its celadon precursor and the simplicity of white porcelain, setting it apart as a uniquely Korean style.[15] Korean ceramics generally featured only one primary pigment and favored more subtle expression than those found in China and Japan, and the subject matter and composition of buncheong was more whimsical and lyrical, reminiscent of modern abstract works, with free-spirited decorative motifs.[16] These motifs were originally derived from Goryeo era celadon but changed dramatically as buncheong ware developed throughout the 15th and 16th centuries. Flowers, such as peonies, chrysanthemums, and lotuses, as well as animals, both real and imagined, were important design elements and motifs in buncheong ware, as they were important symbols related to belief systems such as Confucianism.[17]
Buncheong incorporated carving and stamping as decorative elements, slip inlay, sgraffito, brushwork, iron painting, and later brushing and sipping pieces in white slip.[18] Regional differences in style and technique developed quickly, such as inhwa, with designs being stamped onto the surface and these stamped areas being covered with white slip; cheolhwa, applying designs with a brown underglaze to pieces covered with white slip; and johwa, a sgraffito style in which a piece is covered in white slip and designs are then etched onto the surface.[19] As the style evolved, it reflected the changing culture surrounding it. As metals such as gold, silver, and bronze became scarce due to Ming Dynasty China's tribute demands, ceremonial vessels once made from those metals were manufactured using clay instead, copying the shapes and aesthetics of the original metal vessels. The nature of the surface decorations shifted from finer, more delicate decoration as was typical of the Goryeo period, to a looser and more abstract style which was more lively, informal, and experimental as craftsmen experienced a change in patronage to local and regional customers rather than governmental.[20]
GalleryEdit
Drum-shaped bottle with iron brown decoration with arabesque design (National Treasure No. 1062)
Drum-shaped bottle with decoration of fish, bird, and lotus
Shallow Bowl with Chrysanthemum Design
Bowl with Naeseom Inscription
Bowl with Naeseom Inscription
Gallery by techniquesEdit
There are six main techniques in buncheong ware: guiyal, inhwa, bakji, eumgak, cheolhwa and damgeum.
guiyal technique
buncheong tea cup, casual ware
Joseon period's common people enjoyed using Buncheong. Being at a natural state lead to another beauty. late 15th-early 16th century
inwha
inwha buncheong dish, stamping flowers or dots
buncheong bowl with tortoiseshell and chrysanthemums decorations
bakji
buncheong bowl inwha combined with bakji technique, pheony leaves and chrysanthemum
Buncheong ceramics, national museum of Korea
eumgak
tea cup buncheong eumgak inlaid peony
fish motif are often seen since Gaya kingdom's first queen Heo came from Ayordiya, India with her family symbol, two fishes siding each other
cheolwha
buncheong's beauty of releasing is called Moowi meaning not putting efforts, opposition to a perfection
^Lee, Soyoung. "Joseon Buncheong Ware: Between Celadon and Porcelain". The Met’s Heilbrunn Timeline of Art History. Metropolitan Museum of Art. Retrieved 29 March 2017. https://www.metmuseum.org/toah/hd/pnch/hd_pnch.htm
^Lee, Soyoung. "Joseon Buncheong Ware: Between Celadon and Porcelain". The Met’s Heilbrunn Timeline of Art History. Metropolitan Museum of Art. Retrieved 29 March 2017. https://www.metmuseum.org/toah/hd/pnch/hd_pnch.htm
Soyoung Lee, Seung-chang Jeon. Korean Buncheong Ceramics from Leeum, Samsung Museum of Art. Metropolitan Museum of Art. 2011. ISBN978-0300155167
Masterpieces of Punchong (Buncheong, Punch'ong) Ware from the Ho-Am Art Museum. Ho-Am Art Museum. 1993
External linksEdit
Media related to Buncheong ware at Wikimedia Commons
Categories of Korean Ceramics
October 24, 2023
buncheong, punch, ware, traditional, form, korean, stoneware, with, blue, green, tone, pieces, coated, with, white, slip, ceramics, decorative, designs, added, using, variety, techniques, this, style, originated, 15th, century, continues, revived, form, today,. Buncheong or punch ong ware is a traditional form of Korean stoneware with a blue green tone Pieces are coated with white slip ceramics and decorative designs are added using a variety of techniques This style originated in the 15th century and continues in a revived form today BuncheongBuncheong Ware with Inlaid Dragon and Stamped Design Joseon Dynasty National Treasure No 259Korean nameHangul분청사기Hanja粉靑沙器Revised RomanizationBuncheong SagiMcCune ReischauerPunch ǒng Sagi Contents 1 History 2 Characteristics 3 Gallery 4 Gallery by techniques 5 See also 6 References 7 Further reading 8 External linksHistory EditBuncheong is a contemporary term for a specific type of traditional Korean stoneware that developed in the 15th century during the Joseon Dynasty as Goryeo celadon techniques and subject matter evolved 1 Buncheong ware developed from the earlier Goryeo celadon inlay technique called sanggam and rapidly distinguished itself 2 3 In contrast to the refined elegance of Goryeo celadon buncheong is designed to be natural unassuming and practical 4 This style is characterized by its pale blue green color and decorative techniques which involved shaping the clay and then covering it in white slip ceramics and decorating it by carving stamping and brushwork 5 6 Buncheong style initially lasted for a little over a century in Korea In its heyday buncheong ware pieces were exported to Japan by practitioners of the Japanese tea ceremony 7 The Japanese invasions in the 1590s caused extensive economic devastation to Joseon era Korea including the development of the ceramic industry 8 Hundreds of Korean ceramic artisans were killed or abducted and taught the Japanese to produce their own porcelain causing the simplification and decline of native Korean ceramics 9 It all but disappeared from Korea after the 16th century partially due to the popularity of Joseon white porcelain 10 While the production of buncheong ware in Korea declined and was outpaced by porcelain stoneware featuring buncheong derived aesthetic elements continued to be produced in Japan where it became known as Mishima pottery simultaneously with porcelain In Japan the two were seen as separate forms of expression neither substituting for the other 11 Buncheong style continued to be used in Japan as tea ceremony ware but only experienced a revival in Korea in the 20th century Also during the 20th century elements of buncheong s aesthetics reached Europe and the United States through Bernard Leach Shoji Hamada and other artists who were knowledgeable in Asian ceramic traditions 12 Buncheong continues to inspire artists to this day and both Japanese and Korean artists work with buncheong techniques 13 The National Museum of Korea houses a large collection of Buncheong ware as well as the Leeum Samsung Museum of Art in Seoul 14 Characteristics EditBuncheong is characterized by the use of dark iron bearing clay covered in white slip and a clear glaze Various methods can be used to apply decoration and pigment on the slip or draw through the slip to reveal the dark clay beneath it Buncheong is distinct from other forms of Korean ceramic ware such as Goryeo celadon and Joseon white porcelain in various ways which are more related to aesthetics and underlying sentimentality than to technique Its unconventional beauty is easily distinguished from the elegance of its celadon precursor and the simplicity of white porcelain setting it apart as a uniquely Korean style 15 Korean ceramics generally featured only one primary pigment and favored more subtle expression than those found in China and Japan and the subject matter and composition of buncheong was more whimsical and lyrical reminiscent of modern abstract works with free spirited decorative motifs 16 These motifs were originally derived from Goryeo era celadon but changed dramatically as buncheong ware developed throughout the 15th and 16th centuries Flowers such as peonies chrysanthemums and lotuses as well as animals both real and imagined were important design elements and motifs in buncheong ware as they were important symbols related to belief systems such as Confucianism 17 Buncheong incorporated carving and stamping as decorative elements slip inlay sgraffito brushwork iron painting and later brushing and sipping pieces in white slip 18 Regional differences in style and technique developed quickly such as inhwa with designs being stamped onto the surface and these stamped areas being covered with white slip cheolhwa applying designs with a brown underglaze to pieces covered with white slip and johwa a sgraffito style in which a piece is covered in white slip and designs are then etched onto the surface 19 As the style evolved it reflected the changing culture surrounding it As metals such as gold silver and bronze became scarce due to Ming Dynasty China s tribute demands ceremonial vessels once made from those metals were manufactured using clay instead copying the shapes and aesthetics of the original metal vessels The nature of the surface decorations shifted from finer more delicate decoration as was typical of the Goryeo period to a looser and more abstract style which was more lively informal and experimental as craftsmen experienced a change in patronage to local and regional customers rather than governmental 20 Gallery Edit nbsp Drum shaped bottle with iron brown decoration with arabesque design National Treasure No 1062 nbsp Drum shaped bottle with decoration of fish bird and lotus nbsp Shallow Bowl with Chrysanthemum Design nbsp Bowl with Naeseom Inscription nbsp Bowl with Naeseom Inscription nbsp nbsp nbsp Gallery by techniques EditThere are six main techniques in buncheong ware guiyal inhwa bakji eumgak cheolhwa and damgeum guiyal technique nbsp buncheong tea cup casual ware nbsp Joseon period s common people enjoyed using Buncheong Being at a natural state lead to another beauty late 15th early 16th centuryinwha nbsp inwha buncheong dish stamping flowers or dots nbsp buncheong bowl with tortoiseshell and chrysanthemums decorationsbakji nbsp buncheong bowl inwha combined with bakji technique pheony leaves and chrysanthemum nbsp Buncheong ceramics national museum of Koreaeumgak nbsp tea cup buncheong eumgak inlaid peony nbsp fish motif are often seen since Gaya kingdom s first queen Heo came from Ayordiya India with her family symbol two fishes siding each othercheolwha nbsp buncheong s beauty of releasing is called Moowi meaning not putting efforts opposition to a perfection nbsp cheowha technique using iron paintingdamguem nbsp tea bowl of buncheong 16c nbsp Buncheong rice wine Makgeoli sabalSee also EditKorean pottery and porcelainReferences Edit Knapp J 2012 buncheong ceramics Ceramics Monthly 60 1 24 25 Koehler Robert 7 September 2015 Korean Ceramics The Beauty of Natural Forms Seoul Selection ISBN 9781624120466 Retrieved 29 March 2017 punch ong pottery Korean art Encyclopedia Britannica Retrieved 30 March 2017 Koehler Robert 7 September 2015 Korean Ceramics The Beauty of Natural Forms Seoul Selection ISBN 9781624120466 Retrieved 29 March 2017 Jeon S 2005 Korean Ceramics Seek to Capture the Essence of Nature Koreana 19 2 20 23 https issuu com the korea foundation docs 2005 02 e b a Knapp J 2012 buncheong ceramics Ceramics Monthly 60 1 24 25 https ceramicartsnetwork org ceramics monthly ceramics monthly issue January 2012 Knapp J 2012 buncheong ceramics Ceramics Monthly 60 1 24 25 https ceramicartsnetwork org ceramics monthly ceramics monthly issue January 2012 Jeon S 2005 Korean Ceramics Seek to Capture the Essence of Nature Koreana 19 2 20 23 https issuu com the korea foundation docs 2005 02 e b a Jeon S 2005 Korean Ceramics Seek to Capture the Essence of Nature Koreana 19 2 20 23 https issuu com the korea foundation docs 2005 02 e b a Lee Soyoung Joseon Buncheong Ware Between Celadon and Porcelain The Met s Heilbrunn Timeline of Art History Metropolitan Museum of Art Retrieved 29 March 2017 https www metmuseum org toah hd pnch hd pnch htm Knapp J 2012 buncheong ceramics Ceramics Monthly 60 1 24 25 https ceramicartsnetwork org ceramics monthly ceramics monthly issue January 2012 Knapp J 2012 buncheong ceramics Ceramics Monthly 60 1 24 25 https ceramicartsnetwork org ceramics monthly ceramics monthly issue January 2012 Knapp J 2012 buncheong ceramics Ceramics Monthly 60 1 24 25 https ceramicartsnetwork org ceramics monthly ceramics monthly issue January 2012 Lee Soyoung Joseon Buncheong Ware Between Celadon and Porcelain The Met s Heilbrunn Timeline of Art History Metropolitan Museum of Art Retrieved 29 March 2017 https www metmuseum org toah hd pnch hd pnch htm Jeon S 2005 Korean Ceramics Seek to Capture the Essence of Nature Koreana 19 2 20 23 https issuu com the korea foundation docs 2005 02 e b a Jeon S 2005 Korean Ceramics Seek to Capture the Essence of Nature Koreana 19 2 20 23 https issuu com the korea foundation docs 2005 02 e b a Knapp J 2012 buncheong ceramics Ceramics Monthly 60 1 24 25 https ceramicartsnetwork org ceramics monthly ceramics monthly issue January 2012 Knapp J 2012 buncheong ceramics Ceramics Monthly 60 1 24 25 https ceramicartsnetwork org ceramics monthly ceramics monthly issue January 2012 Jeon S 2005 Korean Ceramics Seek to Capture the Essence of Nature Koreana 19 2 20 23 https issuu com the korea foundation docs 2005 02 e b a Knapp J 2012 buncheong ceramics Ceramics Monthly 60 1 24 25 https ceramicartsnetwork org ceramics monthly ceramics monthly issue January 2012Further reading EditSoyoung Lee Seung chang Jeon Korean Buncheong Ceramics from Leeum Samsung Museum of Art Metropolitan Museum of Art 2011 ISBN 978 0300155167 Masterpieces of Punchong Buncheong Punch ong Ware from the Ho Am Art Museum Ho Am Art Museum 1993External links Edit nbsp Media related to Buncheong ware at Wikimedia Commons Profile of buncheong artist Yoon Kwang Cho Categories of Korean Ceramics Retrieved from https en wikipedia org w index php title Buncheong amp oldid 1154337858, wikipedia, wiki, book, books, library,
