220 UMMA Objects
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A medium size, well potted jar with round shoulder and shorter neck. Inside is not totally glazed. On the body, pine, bamboo, and plum trees are finely painted with blue underglaze. Then a translucent glaze is applied, which turns into milky, white color. It has three floral decorations on the shoulder; the decoration is originated in functional elements of “ears” to which ropes were tied for transportation. The neck has a band of double lines and spray design of peony flowers and leaves. The rim of the neck is unglazed. The foot is unglazed; eye is glazed. Some imperfections of glaze are seen toward the bottom. Glaze is scraped off on one part. Many speckles on the surface.
Japanese (Japanese (culture or style))
Blue-and-white jar with floral and leaf design
1615 – 1643
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1964/1.99
The gray jar with a little long neck has a foot with rectangular perforations and is potted with fine silt-based clay. The relatively thin mouth is slightly everted. Three deep incisions encircle the midsection of the neck. The globular body is decorated with two incised line encircled the body. The foot whose bottom is rolled outward is a little high and wide.<br />
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This is a dark gray, long-necked, high-fired stoneware jar with a pedestal. It has a diagonally splayed neck that is encircled with two raised bands formed by narrowly incised lines. The rim has a rounded edge. The shape of the body is spheroidal, while a raised band marks the boundary between the neck and body. The body, which is widest at its center, is engraved with two shallow horizontal lines that create a wide raised band. The short pedestal and the vessel body are joined smoothly. The pedestal features four square perforations and spreads out horizontally near the bottom edge.
<p>[Korean Collection, University of Michigan Museum
Korean (Korean (culture or style))
Storage Jar on cut-out pedestal foot
500 – 699
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.174
The gray jar with a little long neck has a foot with rectangular perforations and is potted with fine silt-based clay. The relatively thin mouth is slightly everted. Three deep incisions encircle the midsection of the neck. The globular body is decorated with two incised line encircled the body. The foot whose bottom is rolled outward is a little high and wide.<br />
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The long and splayed neck of this blue-gray, high-fired stoneware jar is encircled by two sets of ridges. The set on the upper section of the neck has two ridges, and the set on the lower section has one ridge. The rim is narrow and round. The inner surface of the neck shows rough, uneven surfaces resulting from wheel throwing. The body is widest at its middle. The vessel surface has been smoothed by paring on a wheel after attaching the low pedestal. The pedestal shows six rectangular perforations.
<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 51]</p>
Korean (Korean (culture or style))
Storage Jar on cut-out pedestal foot
400 – 599
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.176
This stoneware vessel consists of a bowl and lid. The curved hemispheric lid has a ring-shaped knob in the center and is decorated a lot of dot line design. The hemispheric bowl stands on the low foot with a flat base. This part is also decorated with stamped design.<br />
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This is a dark gray, high-fired stoneware lidded bowl decorated with a stamped design. A ring-shaped knob at the top of the lid is surrounded by vertically aligned dotted designs radiating outwards. The bowl rim is rounded, while two narrowly incised lines surround its widest part, located just below the lip of the rim where the lid rests. Below these lines, the body is stamped with a continuous, vertically aligned, horseshoe pattern. The short and broad horseshoe motif conveys a sense of stability.
<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 78]</p>
Korean (Korean (culture or style))
Cinerary Urn or Reliquary with stamped "fish scale" designs
600 – 799
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.204A&B
Many white porcelain bottles of this type were produced at Bunwon-ri in the 19th century. One side of its body is decorated with a spray of plum blossom, with the stem and flowers rendered in underglaze iron brown and cobalt blue, respectively. The relatively vivid colors of iron and cobalt colors made the decorations highly effective. The entire foot was glazed, while the foot rim retains traces of fine sand spurs. The precipitation of ash deposits on one side has produced pale green spots. However, this is a high-grade object with transparent and well-fused glaze.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.180]
Korean (Korean (culture or style))
Wine bottle with plum branch design
1850 – 1899
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.275
This is a grayish brown small jar with a short neck and a globular body. It is dated to the end of the 19th century, judging from its motifs, color of cobalt-blue and shape. It is decorated with a line around the rim and with floral scrolls on the shoulder. The entire foot is glazed and has grains of coarse sand stuck to it. Extensive contamination from impurities on its surface has given it a yellow tint overall.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.174]
Korean (Korean (culture or style))
Small Blue-and-White Jar with Bamboo Design, misfired
19th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.277
Covered ceramic jar with brilliantly colored Thai-inspired overglaze enamel painting in floral patterns.  The lid mimics the spires of Thai Buddhist architecture, rising from the gentle curve of the lower portion of the lid and alternating between solid bands of green, and multicolored floral patterns.  The green covers what would be the underside of each of the colorful three tiers of "roof" segments, culminating in what appears to be a red and gold lotus bud at the top of the lid.
Chinese (Chinese (culture or style))
Bencharong Ware Jar (tho)
19th century
Gift of Doris Duke's Southeast Asian Art Collection
2005/1.465A&B
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
A small, stoneware jar of squat proportions, with a narrow, upright neck and a short, cylindricrical foot. The jar is decorated with loosely drawn floral patterns in cobalt blue underneath an overalll whitish glaze.
Kiln Unknown, Vietnam
Blue-and-white miniature jar with stylized floral design
1200 – 1499
Gift of the William T. and Dora G. Hunter Collection
2002/2.18
A small, flat-bottomed stoneware jar, with nearly straight sides flaring out to shoulders only slightly broader than the base, and narrowing to a short neck with an everted rim. The decoration consists of broad horizontal bands of cobalt blue pigment at the base, on the shoulder, and at the neck. The overall glaze, normally a whitish color, is a light brown here, possibly because of less than ideal conditions in the kiln.
Kiln Unknown, Vietnam
Blue-and-white storage jar
1200 – 1499
Gift of the William T. and Dora G. Hunter Collection
2002/2.21
This bright grayish-blue stoneware jar consists of a round base, globular body and long flaring neck. Narrow single ridges encircle the middle part of the neck, dividing it into four sections. Each section is engraved with a wave pattern. The shoulder doesn&rsquo;t have any pattern.<br />
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This is a blue-gray, long-necked, high-fired stoneware jar. The horizontal ridge on the upper part of the long vessel neck marks the boundary between the neck and its inwardly curved mouth. The mouth slopes inward and has a sharp edge. The neck is divided into four sections by three horizontal ridges spaced at equal intervals, and each section is decorated by a wave design rendered with a comb with approximately ten teeth. The jar is widest at its upper-middle part, and the base is round with a slightly recessed center.<br />
[Korean Collection, University of Michigan Museum of Art (2017) p. 47]<br />
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Korean (Korean (culture or style))
Storage jar with bands of incised wavy patterns at neck; lid missing
5th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
2003/1.384

J.T. Abernathy
Jar
1933 – 2018
Gift of Ellen Johnston Laing
2018/2.30
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