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Results for On display?:on; Current location:UMMA Gallery Location ➔ FFW, Mezzanine ➔ M07 (Woon-hyung Lee and Korea Foundation Gallery of Korean Art)

58 UMMA Objects (page 1/5)
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<p>This vessel was produced in a form typical of 13th century celadon bottles with the beautifully curved form and inlaid decorations on the entire surface. The body is divided into six segments, each of which is inlaid with chrysanthemum stems rst then stamped with owers using the inhwa (stamping) technique. Glaze was wiped away from the base and sand supports were used during ring. Glaze on the lower part of the bottle was poorly fused, yielding an opaque surface, however the overall quality of sintering is fine. The mouth has been repaired and restored. This piece is assumed to have been produced at a kiln at Yucheon-ri, Buan-gun, Jeollabuk-do.<br />
[<em>Korean Collection, University of Michigan Museum of Art</em> (2014) p.136]</p>
Korean (Korean (culture or style))
Bottle with inlaid design of strands of chrysanthemum blossoms
1250 – 1299
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.246
Stoneware oil bottle with cup-shaped mouth and body in the shape of a Go gaming piece, or Baduk. The body is decorated with painted floral sprays and covered by celadon glaze.<br />
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<p>The bottle is embellished with chrysanthemums with pâte-sur-pâte decorative technique and with the leaves in iron- brown. There are three refractory spur marks on the low foot. It has a dark ground color that appears like deep gray. Glaze on the body is oxidized, producing areas of yellow- brown color. The rim of the mouth shows traces of repair.<br />
[<em>Korean Collection, University of Michigan Museum of Art</em> (2014) p.131]</p>
Korean (Korean (culture or style))
Oil Bottle with Chrysanthemum Design
12th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.239
A round water dropper in the shape of a curled fish. There are two holes, one located in the middle, near the tail fin, and the other near the head on the dorsal fin. The fish is a white and cobalt blue color.<br />
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This is a carp-shaped water dropper produced within the vicinity of Bunwon-ri, Gwangju-si, and Yeoju-si area in Gyeonggi-do in the late 19th century. Its upper surface features a realistic carp design in relief and entirely colored with cobalt blue. Such animal-shaped vessels are simple in form, but they were esteemed by many for their auspicious meaning. The base is flat, wide, and stained by ink.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.184]
Korean (Korean (culture or style))
Blue-and-White Water Dropper in the Shape of a Fish
1867 – 1899
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.286
This brownish black bottle was made from porcelain clay coated in brownish-black glaze. The high-iron content of the glaze has given it a black shade. Sand has been removed from the clay, giving it a smooth texture. Coarse sand spurs were used during firing. The glaze is well fused and the surface is glossy. It remains intact and undamaged.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.212]
Korean (Korean (culture or style))
Nine-sided bottle
1850 – 1899
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.296
It is simple in shape, like a donut but with a sharply trimmed rim in the manner of a metal vessel. The hole in the middle is believed to be a symbol of Eastern philosophy. Designs are painted on the surface in cobalt blue pigment.<br />
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This ring-shaped water dropper is decorated with a figures-in-landscape design on its upper surface and a floral scroll design on its sides rendered in cobalt blue. A line runs around the foot and sand was used as kiln spurs. The clay and glaze are well fused. This is one of many water droppers that were produced at Bunwon-ri, Gwangju-si, Gyeonggi-do, in the late 19th century.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.183]
Korean (Korean (culture or style))
Blue-and-white water dropper with landscape design
1850 – 1899
Gift of Mr. Harry C. Nail, Jr.
1965/2.57
Round porcelain jar with iron pigment under colorless glaze. An abstract dragon spirals around and up the body of the piece, marked by quick brushstrokes indicating scales and unrestrained swirls indicating features such as its head and feet. A slight valley in the contour of the jar marks where two separately thrown pieces were joined together.<br />
The foot is rather small for the size of the body.<br />
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This is a white porcelain jar decorated with iron-painted dragon, which wraps around the jar three times, displaying dynamic strokes of brush. The dragon&rsquo;s head is not rendered; its two eyes have been tersely painted instead. Jars with iron painted dragons, rendered in an abstract from, were produced in large quantities in the 17th century; many of them were produed in regional kilns. Despite slight damage to its rim, this jar is preserved as intact. The central part of its body clearly shows that this jar was created by joining separately produced upper and lower halves.<br />
[Korean Col
Korean (Korean (culture or style))
Jar with abstract dragon design
17th century
Museum purchase for the James Marshall Plumer Memorial Collection
1961/2.88
This circular tile has circular designs of a range of sizes. At the very center has a small circle, with a ring around it. Surrounding this are six evenly spaced small circles, which result in an overall six-petalled stylized floral-like design. Surrounding it is another thin circular band, and another circle of evenly spaced dots, enclosed by another circular band. This design at center thus far represents a lotus seedpod. Extending from it are eight petals, with another ring of eight larger petals set behind them. Finally, another ring pattern of two thin circular bands with small dots between them creates the border of the tile.<br />
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This dark gray, high-fired earthenware convex eave-end roof tile features a two-tier, eight-petal lotus design. It is made from fine clay mixed with numerous fine stone particles. Two concentric tiers of eight petals surround a flat, circular ovary that contains a single central seed surrounded by six others. A circular band, also containing seeds, runs around the ou
Korean (Korean (culture or style))
Roof-end tile with lotus design
668 – 935
On loan from the YooGeum Museum, Seoul, Korea
LTL2009.7.7
Tall hourglass-shaped stand. Composed of three separate parts: two bowls and a connecting cylinder. The pieces are unified with appliqu&eacute;d bands encircling the cylinder horizontally as well as evenly spaced cut-out shapes of rectangles and triangles leading up the stand vertically in lines.<br />
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This is a dark grayish brown, cylindrical, high-fired stoneware vessel stand. Parts of the bowl-shaped section have a yellowish brown tint. The walls of the vessel are relatively thick and have a coarse texture. The upper part of the neck has a flared profile, but its rim slopes inwards. The cylindrical neck is divided into three sections by thick double raised bands. In each section of the neck are rectangular perforations that are vertically aligned with those of the other sections. The bell-shaped pedestal is divided into three sections by thin raised bands and has perforations vertically aligned with those of the cylindrical neck. Only the perforations of the uppermost section of the pedestal are t
Korean (Korean (culture or style))
Tall Ceremonial Stand for Jar
5th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.178
This cup consists of two parts such as the long cup and the midsection containing balls. It has a wide mouth together with a large and flat bottom. Two protruding bands divide the sup into four fields, with the bottom three being decorated with incised gouged dots patterns. The midsection has two areas divided by a protruding band. Both areas have some triangular perforations<br />
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This is a grayish brown, low-fired earthenware bell cup. The bell section is in the shape of two cups attached together at the rim; one cup is upright, while the other cup is reversed. This bell is attached to the base of the cup. The body of the cup is divided into four segments by three sets of raised bands; the lower three segments feature vertical lines of dots. The body of the bell is divided into upper and lower sections, each of which contains a series of triangular perforations offset from those of the other segment. Vertical lines of dots, the same as those on the body, were applied between the perforations in the
Korean (Korean (culture or style))
Bell Cup (goblet with rattle base)
5th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.170
Earthenware roof tile-end with molded floral pattern.<br />
The floral medallion on this tile-end consists of bosanghwa(Buddhist floral pattern) motifs which has four heart-shaped petals. The rim is decorated with a chain of beads.<br />
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This dark gray, high-fired earthenware convex eave-end roof tile is decorated with a palmette motif consisting of four petals of a flower in full bloom. Also referred to as the bosanghwa (寶相華, Ch. baoxianghua , a mythical flower often used as a Buddhist decorative motif ), this motif is arranged around a central ovary. Traces of trimming and smoothing with water are visible on the sides of the tile. Traces of clay used to attach this tile to a flat tile can also be seen on the joints.
<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 39]</p>
Korean (Korean (culture or style))
Roof Tile-End with Floral Medallion Design
700 – 899
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.200
Inlaying silver into ironware was a popular method of decorating metalwork that required high levels of skill. Numerous items were produced with inlay decorations. The entire lid and body of this hexagonal case are decorated with inlaid silver. The lid features a hexagonal design in its center surrounded by a continuous four-leaf flower design. The six sides of the body are decorated by three pairs of turtle designs, crane designs and deer designs, arranged alternately. The lid and body are bordered with a fret-patterned band. This case with a flat base is excellently preserved. This type of iron-lidded case with inlaid silver design was produced in large quantities from the nineteenth century to the early twentieth century, continuing through the Japanese annexation of the Korean Peninsula. Such cases are mostly octagonal; this is a rare hexagonal example.
<p>[Korean Collection, University of Michigan Museum of Art (2017), 244]</p>
Korean (Korean (culture or style))
Hexagonal Tobacco Box with Lid
19th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.280A&B
Deep porcelain bowl with wide foot, fine body, and colorless glaze.<br />
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This high-quality white porcelain bowl is presumed to have been produced at official court kilns around Usan-ri, Gwangju-si, Gyeonggido. The well-levigated clay of finest quality was used for this bowl. Sagger was used to protect the bowl during firing to attain its pure white, immaculate surface. Entire foot of the bowl was glazed, and the foot was placed upon a fine white sand support to make the surface as clean as possible. The outer base is enscribed with Chinese character &ldquo;天&quot; (&ldquo;Cheon;&rdquo; sky, heaven)&rdquo; by scraping off the glaze. The characters &ldquo;大&rdquo; (&ldquo;Dae;&rdquo; big; great)&rdquo; and &ldquo;黃&rdquo; (&ldquo;Hwang;&rdquo; yellow) have been stippled after firing. Finely fused and sintered, this bowl exemplifies the essence of white porcelain made from offical court kilns, which is robust and white as a white jade.<br />
[Korean Collection, University of Michigan Museum of Art (20
Korean (Korean (culture or style))
Deep Bowl
15th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.265
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