Advanced Search

K-12 Educator
K-12 Student
Museum Visitor
UMMA Docent
UMMA Staff
University Faculty
University Student
Between and Mortarboard


UMMA Object Specific Fields






Query builder

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

60 UMMA Objects (page 1/5)
Results Per Page Sort by

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 />
<br />
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
676 – 935
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.200
Stoneware lotus-shaped cup and stand with celadon glaze. The cup is shaped in the style of a ten-lobed lotus blossom. On each lobe lies lightly incised chrysanthemum decoration. The cup rests on a pedestal in the design of an inverted lotus flower, which rises from the dish-like base of the stand, mounted on a fluted foot.
<p>This is a flower-shaped cup and stand which offers a good demonstration of the formal splendor of 12th century Goryeo celadon despite yellow-borwn coloration in places. Both the cup and stand have ten lobes and they were produced using molds. On each of the ten lotus petals of the cup and stand is incised a chrysanthemum, and another chrysanthemum design is incised on the upper part of the stand where the cup rests. Around the pedestal on where the cup sits is a band of inverted lotus petals. Each foot of the cup and stand has refractory spur marks.<br />
[<em>Korean Collection, University of Michigan Museum of Art</em> (2014) p.125]<br />
&nbsp;</p>
Korean (Korean (culture or style))
Lobed Lotus-Shaped Cup and Stand with incised floral patterns
12th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.235A&B
This is an eight-lobed bronze mirror in a dark green or blackish green hue. It is divided into two registers by eightlobed ridge, first of which is decorated with floral scrolls. The inner register has two cranes encircling the suspension loop in the center with their wings extended and facing each other. This object may be compared to other crane-patterned mirrors excavated from the Geumcheon-dong tomb site in Cheongju-si, Chungcheongbuk-do Province.
<p>[Korean Collection, University of Michigan Museum of Art (2017), 241]</p>
Korean (Korean (culture or style))
Mirror with Lobed Rim
12th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.236
<p>This is a celadon lidded bowl with the top of the lid decorated with a peony spray design inside a hexafoil outline inlaid with black and white slips. The foot was made by removing clay from the underside of the base and retains traces of quartzite spurs in three places. The glaze was slightly darkened on the upper part with faint gloss. The glaze is poorly fused on the base of the body, leaving practically no sheen. The piece is of high value, however, for the glimpse it offers of Goryeo&rsquo;s refined yet splendid inlaid celadon ware, thanks to its decorative design that depicts a peony in full bloom, inlaid with white clay.<br />
[<em>Korean Collection, University of Michigan Museum of Art </em>(2014) p.118]<br />
&nbsp;</p>
Korean (Korean (culture or style))
Cosmetic Box with inlaid peony (?) design: 6-lobed shape to lip top
1167 – 1199
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.240A&B
Stoneware bottle with partial white slip extending up from an incised band near the widest stretch of the body upwards to the lip. Another band is incised just above the former, creating a two-band pattern that is repeated again at the neck. Between these pairs of bands is an abstract design painted in iron-oxide, creating a brown hue against the white slip. The mouth of the bottle is also coated in this reddish-brown hue. The base of the piece is left its natural gray-brown color.<br />
<br />
This is a buncheong bottle produced at a kiln in Hakbong-ri, Gongju-gun, Chungcheongnamdo. The mouth curves inwards slightly, while the body is swollen. The upper part of the body is decorated with scrolls in underglaze iron-brown on a thick coat of white slip, while the neck and the middle of the body feature horizontal lines incised through the slip. The scroll designs illustrate the characteristic brisk brush strokes that were commonly found in the iron-painted buncheong ware of the 16th century, and they are some
Korean (Korean (culture or style))
Small wine bottle with painted design
1400 – 1599
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.267
The upper surface of this vessel features a circle with the Chinese character &quot;je (祭: ancestral rite)&quot; rendered inside in cobalt blue pigment. The tray features blemishes, while the rims show traces of use. The foot retains traces of coarse sand supports stuck to it during firing. This type of ritual vessel has been excavated from the upper sediment layers of waste deposits of kilns in front of what is now Bunwon-ri Elementary School in Gwangju-si, Gyeonggi-do. Such vessels are presumed to have been produced immediately before the Bunwon-ri kiln cloised down and to have been widely supplied to the general public.&nbsp;<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.196]
Korean (Korean (culture or style))
Blue-and-white Ritual Dish with Inscription "Je (祭)"
19th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.283
A round peach-shaped water dropper. The peach itself is covered in a white glaze and covered in bamboo stalks and leaves. These are embossed onto the peach and stand out even more as the iron brown underglaze comes through strongest on these details. The iron brown underglaze can also be seen along the base of the waterdropper. The hole is at the top of the peach.<br />
<br />
This is a peach-shaped water dropper shaped in a mold, featuring mold-impressed designs of peach leaf and branch on the surface. Its upper part is perforated by two water holes and the body is very light. Parts of the designs in high-relief are thinly glazed and tinged with brown. The foot is low. It was fired on the kiln shelf, which is an indication that it was produced in the early 20th century.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.185]
Korean (Korean (culture or style))
White Porcelain Peach-Shaped Water Dropper
20th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.298
A glazed whie and speckled porcelain bottle. The body is round and shperical, with a narrow concave neck and lipped opening.<br />
<br />
These are modern pieces thrown on a semi-manual wheel. Their shoulders are decorated with simple designs in underglaze cobalt blue, which is a result of Japanese influence. The use of clay with a high kaolin content has given the bottles thin walls and a strong sheen. Their shoulders are contaminated with impurities. Objects of this this type were produced in Cheongsong-gun, Gyeongsangbuk-do.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.207]
Korean (Korean (culture or style))
Bottle
1900 – 1950
Gift of Ok Ja Chang and the Chang Family
2009/2.63
A glazed whie and speckled porcelain bottle. The body is round with a narrow concave neck and lipped opening. Detailed with a blue curved line and bulb shape.<br />
<br />
These are modern pieces thrown on a semi-manual wheel. Their shoulders are decorated with simple designs in underglaze cobalt blue, which is a result of Japanese influence. The use of clay with a high kaolin content has given the bottles thin walls and a strong sheen. Their shoulders are contaminated with impurities. Objects of this this type were produced in Cheongsong-gun, Gyeongsangbuk-do.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.207]
Korean (Korean (culture or style))
Bottle
1900 – 1950
Gift of Ok Ja Chang and the Chang Family
2009/2.64
It is a knife made of silver. The sword blade was made of steel. Floral design was printed on the knob and Deer and bamboo was printed on the cover.<br />
<br />
This small knife is worn by a man. The handle and sheath are decorated with ten symbols of longevity against ring-punched background. The other side features engravings of plantains and lotus buds. Plantain symbolizes resuscitation from death and is one of the Eight Treasures of Taoism. The lotus flower symbolizes purity and the law of cause and effect as it emerges from mud (dirt) and bears seeds.
<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 285]</p>
<br />
&nbsp;
Korean (Korean (culture or style))
Ladies Knife
19th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1985/2.48
It has a flat base and straight body. The body is divided with incised lines and each section is embellished with a simple wave design. A pair of D-shaped handles is attached to the body. Its lid features a hemispheric body surmounted by a button-shaped knob.<br />
<br />
This is a set consisting of a dark gray, high-fired stoneware bowl and its lid. The lid is crowned with a button-shaped knob at its center, which is encircled by two thinly incised lines drawn by a multitooth comb. These lines divide the lid&rsquo;s surface into inner and outer sections, to both of which wave designs have been applied. On each side of the bowl, a long, narrow, band-shaped handle is attached vertically and symmetrically. The base of the bowl is flat, while the part where the base and body of the bowl meet is rounded. The bowl gradually flares upwards. Three broad raised bands surround three parts of the body. A wave design is rendered between each band. Faint traces of paddled patterns are visible on parts of the base.
<p>
Korean (Korean (culture or style))
Two-handled bowl with cover
400 – 599
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.182A&B
A stoneware vessel designed for pouring or possibly to serve as an oil lamp, in the shape of a duck. The lower half of the duck&#39;s body and &quot;legs&quot; are formed by a shallow bowl on an openwork pedestal; the sides of the bowl have been compressed to make an elongated shape. The upper half of the duck&#39;s body, and its neck and head are formed by hand, The duck&#39;s body is hollow, with two aperture: liquids can be poured in through a funnel with a cup-shaped mouth on the duck&#39;s back, and liquids can be poured out through a wide opening at the tail.<br />
<br />
This is a gray or gray-orange, duck-shaped, low-fired earthenware vessel. Its semi-globular spout is attached to the upper part of the duck&rsquo;s back, while a 2.8cm wide hole, which appears to have been used for pouring liquids, is located at the tail end. The duck&rsquo;s beak is flat and wide, and its eyes are expressed by an incised dot and circle. The lower part of the body features three ridges that form a wave design. The pe
Korean (Korean (culture or style))
Vessel in the shape of a duck
200 – 399
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.188
1 2 3 4 5
Loading…