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This porcelain bowl was produced at a regional kiln in the regions of Gimhae-si, Jinhae-si, Jinju-si, Sacheon-si, and Gonmyeong-myeon in southwestern region of Gyeongsangnamdo in the 16th century, Joseon. Such bowls were known to the Japanese as “ido (井戶)” tea bowls and treated as luxury items. Though this bowl was intended to be made as a white porcelain bowl, the numerous impurities stuck to its surface tinged the surface with brown. Refractory spur marks remain on the inner base and the foot. There is a large number of pinholes on the foot and lower part of the wall, and impurities stuck inside the pinholes appear like dotted decoration. There are traces of glaze running, some of which were caused by melting and flowing down. Although this was previously classified as a Japanese artifact, it is thought to have been produced in Korea and later used in Japan as a tea bowl. Therefore, the Overseas Korean Cultural Heritage Foundation newly added this bowl as a Korean object after a careful examinat
Korean (Korean (culture or style))
Tea Bowl, 'ido chawan' type
16th century
Bequest of Margaret Watson Parker
1954/1.535
This stone dagger has a handle that is divided into two parts, separated from each other by a thinner band. The upper tier is smaller in length than the lower tier, which flares outward as it approaches the end. The tip of blade is broken off. In profile, the blade thickens in the center.<br /> <br /> Carved from stone, this dagger with a two-tier handle is missing only its tip. The cross section of the blade is rhomboid, while that of the handle is shaped like a convex lens. The dagger is of the later two-tier-handled type (<em>idanbyeongsik</em>), meaning that it probably dates from the end of the early Bronze Age or the beginning of the middle Bronze Age. Max Loehr (1903- 1988) was a German art historian specializing in East Asian art who taught at the University of Michigan from 1951 to 1960 as a professor.<br /> [Korean Collection, University of Michigan Museum of Art (2017) p.32]
Korean (Korean (culture or style))
Polished Stone Dagger
900 BCE – 701 BCE
Museum purchase from the collection of Max Loehr
1960/2.117
<p>This type of bowl was extensively produced throughout the 12th century. The outer wall is decorated with incised and raised deisgn of a two-tiered lotus petal. The glaze was oxidized, producing yellow-green color, but the application of glaze to the entire foot and the use of quartzite spurs indicate that this was produced as a high-quality item.<br /> [<em>Korean Collection, University of Michigan Museum of Art</em> (2014) p.103]</p> It has a wall gently curving from the mouth toward the bottom before angeling in sharply close to the foot. There is a lotus petal on exterior. The color is brown.
Korean (Korean (culture or style))
Bowl with carved lotus pattern
12th century
Transfer from the College of Architecture and Design
1972/2.78
It is in the shape of a sectioned melon. The body is vertically divided into ten sections and to create an embossed effect, the grooves between each two sections were pressed down slightly. The lid has a loop attached at the top. It is decorated on all sides with black and white inlaid design of butterfly, chrysanthemum and peony with stem and foliage. The spout and handle was broken and restored. The lid seems to be fake. <p>This is a ribbed ewer in the shape of a melon. It is decorated with black-and-white inlaid designs of peonies, chrysanthemums, and butterflies on the body, and yeoui-head designs around the mouth. Also on the lower part of the body are inlaid scrolls with white slip. Its outer base is glazed thoroughly, and it was supported with quartzite spurs in six places. The handle in the shape of a bamboo stem is currently broken off, while the spout and stopper have been repaired in places. The overall state of the vessel&rsquo;s glaze and decorative designs, however, allow it to be categorized a
Korean (Korean (culture or style))
Ewer in the shape of a melon with inlaid floral and butterfly designs
1100 – 1150
Gift of Mrs. Caroline I. Plumer for the James Marshall Plumer Collection
1973/2.33
Stoneware jar with natural ash glaze and bell-shaped lid. Along the widest horizontal stretch of the base is an incised circle-and-dot design. A variation on this pattern also loops around the lid, topped by a line marking a ring along the surface of the lid, and incised lines extending outward from a button-shaped knob.<br /> <br /> This is a dark gray, high-fired stoneware lidded bowl with a stamped design. The lid features a button-shaped knob at its center. Thinly incised lines encircle the upper part of the lid, dividing its surface into two segments. The inner segment is decorated with a triangular line design, whereas the outer segment is decorated with a design consisting of semicircles with dots inside, which border the inner segment. Sets of two thinly incised horizontal lines run around the section of the bowl immediately below the rim and the lower middle part of the body. A double semicircular design decorates the segment between these two sets of lines. The foot is short and thick and has a fo
Korean (Korean (culture or style))
Cinerary urn with triangular circle-and-dot design
7th century
Gift of Mrs. Caroline I. Plumer for the James Marshall Plumer Collection
1973/2.36A&B
It has a small straight rim. Abstract flowers is decorated on the shoulder in the cobalt blue. The body shapes octagonal form.<br /> <br /> This white porcelain jar has an octagonal body and is decorated with vignettes in underglaze cobalt blue on the upper part of the shoulder. Its recessed base, created by removing clay from the bottom, retains traces of fine sand support. This angular bottle was shaped using a mold and has a strong sheen. A large number of cracks and contaminants, however, have darkened the surface. The clay is well sintered, forming a sturdy body.<br /> [Korean Collection, University of Michigan Museum of Art (2014) p.175]
Korean (Korean (culture or style))
Small faceted bottle
1850 – 1899
Gift of Mrs. Caroline I. Plumer for the James Marshall Plumer Collection
1977/1.196
It is in the shape of a flat disk with octagonal sides, a type that was widely produced in the 19th century. The center of the top surface features a flower petal in a darkish cobalt blue pigment. A pale blue glaze applied over the entire surface, but has a slightly hue. The pigment used on the flower is also applied around the edgesof the octagon, more heavily so in the corners.<br /> <br /> This water dropper was produced at a kiln in Bunwon-ri, Gwangju-si, Gyeonggi-do at the end of 19th century. Its upper surface features an outline painted around the edge and a floral spray design in the center, both rendered in cobalt blue. The design is bluish black in color, a phenomenon sometimes caused by high iron and manganese content in the cobalt underglaze. The water dropper remains intact, except for a slight damage to its spout. The sand spur marks left around the foot are often found on white porcelain produced at private kilns within the vicinity of Bunwon-ri area after the privatization of Bunwon-ri kilns
Korean (Korean (culture or style))
Blue-and-white octagonal water dropper with floral design
1850 – 1899
Gift of Mrs. Caroline I. Plumer for the James Marshall Plumer Collection
1977/1.197
Glossy finish gray colored bowl. Contains a ring near the rim on the inside and an indentation in the center.
Korean (Korean (culture or style))
Celadon Bowl
Gift of Margaret Condon Taylor in honor of Professor Kim Young Sook
2014/2.106
<p>This bowl is typical of early-Goryeo celadon in terms of shape and pattern. Similar examples have been excavated from sedimentary layers from the Kiln no. 10 at Yongun-ri, Gangjin-gun, Jeollanam-do. The entire inner wall is decorated with chrysanthemum sprays incised in fine lines. Chrysanthemum spray design is commonly found in Goryeo celadon produced between the 10th and the 11th centuries along with the motifs of chrysanthemum, scroll, cloud, parrot, and wave. The design is resemblent to those found in Yue ware, but the clay and glaze were sintered better and the glaze was exquisitely fused to turn into the beautiful color without crackles. Six refractory spurs were used to support the bowl during firing. The bowl was restored after a breakage into two halves.<br /> [<em>Korean Collection, University of Michigan Museum of Art </em>(2014) p.92]</p> <br /> Stoneware bowl with celadon glaze. The bowl is decorated by an incised line stretching parallel to the rim, bounding a chrysanthemum design below.
Korean (Korean (culture or style))
Bowl with Chrysanthemum Design
900 – 1099
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.220
<p>This bowl has a narrow foot and a ared mouth. is type of bowl was produced in large quantities from the 11th century to the 12th century. Its inner wall has mold-impressed peony sprays. The entire body of the bowl is glazed, including the inside of the foot, but the glaze on its rim of the foot was wiped away, on which refractory spurs were adhered to for ring. Parts of the inner surface show ne crackles, while the inner bottom was stained with greenish-brown iron spots. One part of the rim was damaged and subsequently repaired. Glaze applied to the outer surface has partially owed downwards, resulting in an uneven surface, but the glaze and clay are quite well fused and sintered.<br /> [<em>Korean Collection, University of Michigan Museum of Art</em> (2014) p.93]</p> <br /> The celadon bowl has straight-lined sides. The surface is evenly coated with a dark bluish green glaze. The celadon bowl rests on a rather tall foot, which was hollowed out from the bottom. The designs are present only on the inside
Korean (Korean (culture or style))
Conical bowl with molded floral design
12th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.222
A trapezoid base with 56 lengths of metal strings divided into 14 sets. Each set is wound around the pegs on each end. The inside cover is lined with paper and an x-shaped paper bracket is attached which holds the striking stick. The striker is a thin, carved bamboo stick.<br /> <br /> With a name that literally means &ldquo;Western zither,&rdquo; this melodic percussion instrument produces a clear metallic sound when its metal strings are struck with a thinly carved bamboo stick. Strung over its trapezoid base board are fifty-six lengths of wire divided into fourteen sets, so that each set comprises four lengths of wire wound around the pegs on the left and right sides. The inside of the cover is lined with paper; the same paper has been used to create an X-shaped bracket to hold the stick. The fact that this is not Korean traditional paper suggests that the yanggeum is imported. An ink inscription reading &ldquo;chilyeonjyu (칠연쥬)&rdquo; appears on the inside of the cover.<br /> [Korean Collection, Univer
Korean (Korean (culture or style))
Hammer-dulcimer (Yanggeum)
1850 – 1950
Gift and partial purchase from Bruce and Inta Hasenkamp, purchase with funds from Elder and Mrs Sang-Yong Nam
2021/1.158
The mouth is straight. The side is gently curved to the bottom. The foot is hgh and narrow. It was repaired.<br /> <br /> Produced between the 15th and 16th century at a privately owned kiln in the southwestern region of Gyeongsangnam-do, this bowl has been restored following breakage into ten pieces. Its rim curves inwards. It is made with stoneware clay. There are five spur marks on the inner base, and the glaze on the rim of its foot has been wiped away. It is coated with opaque white glaze, on which have formed many crackles and pinholes. The color of glaze is not even throughout the surface. Vessels of this type were popular in Japan as tea bowls (茶碗, Jap. chawan).<br /> [Korean Collection, University of Michigan Museum of Art (2014) p.160]
Korean (Korean (culture or style))
Deep footed bowl
16th century
Transfer from the College of Architecture and Design
1972/2.75
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