87 UMMA Objects
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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
An earthenware sancai three-color glazed figure of a man wearing a long green robe and tall black hat. He is carrying an amber-glazed rectangular box over the top of an amber-glazed tasseled sash that covers his hands, and is standing on a green- and amber-glazed octagonal dais. His face is painted in polychrome mineral pigments, and his head was sculpted separately from the body.
Chinese (Chinese (culture or style))
Male Attendant
1368 – 1644
Gift of Jiu-Hwa Lo Upshur
2009/2.105A&B
This rectangular vase is decorated in one corber with a wheel or foral design carved into the clay. The opening edges of the vase are not straight, but asymmetrical. The natural ash glaze decorates the vase with varyig shades of gray.
Kōyama Kiyoko
Vase
1995 – 2005
Gift of Lori and David London
2010/1.204
This large jar is ovular in shape, with four lines carved across its horizontal axis periodically. The jar shape turns inward from the third line from the bottom. where the fourth line serves as the base of the neck of the jar opening. The natural ash glaze is not applied evenly, but looks as ip it dripped down the sides of the jar in some areas.
Kōyama Kiyoko
Large Jar
1995 – 2005
Gift of the artist
2010/1.212
This cylindircal jar has a circular lid with a small handle. The natural ash glaze creates a mix of green, black, gray, and reddish hues.
Kōyama Kiyoko
Jar
1995 – 2005
Gift of the artist
2010/1.214
An inkwell made with ceramics in blue color. It is flat and round, wider on the bottom, and narrower on the top; and the lid cover has a ram head crafting on it.
Roycroft Pottery
Blue Ceramic Inkwell with Ram Design on Lid, Roycroft pottery blue-aqua inkwell, lid and insert
1875 – 1975
Gift in loving memory of Donald Maxwell Robiner from his family
2010/1.293
Clay vessel with a rounded bottom and a tall neck and handle. The bottom part of the vessel and handle are decorated with small holes and geometric patterns. The neck of the vessel is decorated with a face on both sides. The lips appear to be pursed and the eyes appear to be closed. The  half-circle ears stick out from the top of the neck, just below the rim of the vessel. On each cheek there are three horizontal marks with small holes. 
Yoruba (Yoruba (culture or style))
Vessel
1890 – 1920
Gift of Dr. James and Vivian Curtis
2000/2.111
'Ueberlauf' on rim running design, in center a blossom; paste: buff, fine, medium-hard; glaze: glossy, fine crackle top glaze, over cream slip on interior and exterior except bottom part. Fired upside down (tripod on interior) and upright. Colors are green, yellow, aubergine, green-white. Slightly restored.
Iranian (Iranian)
Plate with tri-colored glaze
10th century
Museum Purchase
1957/1.51
"Produced in the Wan Li era (1573-1619), the Chinese prototypes are more tightly controlled and more elaborate that the museum's Persian version. In place of nine rim panels in the Far Eastern piece our bowl has four, more widely dispersed over the rim area and enclosing loosely executed foliate forms. The elaborate scene usually appearing in the center of such bowls here is reduced to a simple bouqet, now in part reconstruction." 
Iranian (Iranian)
Plate with radial design
Museum Purchase
1957/1.84

Malian
Ceramic Jewelry Molds (One of eighteen)
1900 – 1932
Gift of Prof. and Mrs. Horace M. Miner
1983/2.215

Malian
Ceramic Jewelry Molds (One of eighteen)
1900 – 1932
Gift of Prof. and Mrs. Horace M. Miner
1983/2.221

Malian
Ceramic Jewelry Molds (One of eighteen)
1900 – 1932
Gift of Prof. and Mrs. Horace M. Miner
1983/2.226
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