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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)

55 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
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
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
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
A tall chest with four main cabinet doors, two on top and two on bottom, and four smaller drawers on the top. Each door is fitted with brass hinges and accent pieces. The wood is multi colored, light brown and dark brown.<br />
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Produced to store clothes, chests were generally kept in the lady&rsquo;s quarter (<em>anbang</em> ) of a house and used by women. The front panels are made from persimmon wood, while the top, sides and back are made from pine wood. The top panel is made from a single piece of wood with moldings attached to give a sleek design. The side panels extend to the back, and the back panel was joined to the side panels at a perpendicular angle. The top and side panels are joined by three tenons and mortises. The rail of the first and second levels are attached to the side panels by mortise-and-tenon joints. The borders of the doors on the first level are inlaid with blacklines. Rim decoration <em>ogeumte</em> has been added to the part under the lower crossbar which is supported by a
Korean (Korean (culture or style))
Chest
1795 – 1805
Gift of Ellen Johnston Laing
2017/2.125
This grayish-blue stoneware jar has a globular body, round base and straight elongated neck. A little wide single ridges encircle the middle of the neck, dividing it into three sections, each engraved with a wave pattern. The base has two ridges encircled on the below part and triangular holes.<br />
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This vessel was fired as a long-necked jar attached to the top of a bowl-shaped pedestal. The surfaces of the jar and pedestal display traces of natural glaze that was formed on the surface or flowed downwards. The long and slightly splayed neck of the jar is divided into three sections by raised bands, while each section is decorated with wave designs. The bowlshaped pedestal has a very shallow bowl section and a grooved edge. The pedestal has a flared profile and features triangular perforations in five places. Two raised bands surround the area below the perforations.
<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 56]</p>
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Korean (Korean (culture or style))
Round-bottomed jar with cover, fused to low ceremonial stand
400 – 532
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.167A&B
<p>This bowl exemplifies early-tenth century celadon forms influenced by Chinese Yue ware. It has a halo-shaped foot (haemurigup), a characteristic of Yue ware. It is a high-quality celadon made from fine clay, coated by highly transparent glaze. Surface is plain while displaying crackles on its inner surface and parts of its outer surface. Many similar vessels were excavated from the Kilns no. 9 and no. 10 at Yongun-ri, Gangjin-gun, Jeollanam-do. Refractory spur marks created during firing remain in five places on the rim of the foot.<br />
[<i>Korean Collection, University of Michigan Museum of Art </i>(2014)&nbsp;p.88]</p>
Stoneware tea bowl with celadon glaze.
Korean (Korean (culture or style))
Tea Bowl
10th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.217
<p>This dish with a lobed rim was shaped with a mold. Inlaid on each lobed wall and at the center of its inner base with white slip are chrysanthemum spray design and a chrysanthemum floret, respectively. On the flat outer base remain three quartzite spur marks. The entire dish was glazed including the outer base; the state of sintering is good, while the glaze is pure and green. Crackles are spread throughout the inner and outer surfaces.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.116]</p>
Korean (Korean (culture or style))
Ten-lobed lotus saucer with inlaid floral patterns
13th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.232
Stoneware bowl with stamped rope-curtain design covered by a white slip and colorless glaze. A stylized inlaid chrysanthemum blossom decorates the center of the bowl, surrounded by a band of petals.<br />
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This buncheong bowl with stamped design was maily supplied to government offices in the 15th century. It is decorated with a lotus flower on the inner base surrounded by lotus petals, butterflies and rows of dots on the inner wall. The outer wall, too, is filled with rows of dots. It was poorly sintered and the glaze applied to the lower part of the body is not melted in parts. The foot is not glazed and exposes the clay body.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.147]
Korean (Korean (culture or style))
Bowl with Rope-Curtain Design
15th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.263
Large porcelain jar with course ovoid body, cylindrical foot, flared mouth and colorless glaze.<br />
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This elongated ovoid jar is presumed to have been produced at a regional kiln. It is shaped by joining the upper and lower halves, which were made separately on the wheel. High-quality clay and glaze were used, but the glaze was poorly fused. The foot was repaired after a partial damage. The lower body features red spots on some parts, which occurred during firing.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.170]
Korean (Korean (culture or style))
Large Ovoid Jar
1867 – 1899
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.288
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