Exchange: Single Shard Distance Learning Tour

Single Shard Distance Learning Tour

A globular, wide-mouthed jar with two bands of incised and impressed rib-pattern decoration, and two lug handles holding loose rings on the shoulder. A light coating of olive-green glaze covers the top and shoulder.

A porcelaneous stoneware, globular bodied ewer with a narrow, flaring neck, a dish-shaped mouth, a handle in the form of a dragon head and a neck extending from the rim to the shoulder. The spout is in the form of a chicken head and two lug handles are on the shoulder. It is covered in a pale gray green glaze.

$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. 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. [Korean Collection, University of Michigan Museum of Art (2014) p.125]  $

View Object Record

Gilt bronze standing Buddha on lotus pedestal. He is clothed in monastic robes with cascading U-shaped folds, similar to the gentle folds of his neck. His hands ake the form of two mudras: the abhaya (“have no fear”) mudra with the right hand, and varada (“wishes are granted”) mudra with the left.<br />
<br />
<br />
It is well proportioned overall and represent Buddha in a standing position; a position quite popular in Unified Shilla Buddhist sculpture. The Ushinisha on the top of Buddha's head is tall, voluminous and black. The face is plump and facial features, including the eyes, nose and the mouth, are all rather small. The earlobes hang are hanging and the three curved lines on the neck are highly distinct.<br />
<br />
The body and pedestal of this statue were cast as a single mass. The body is made of solid bronze, but the pedestal is hollow. The back part of the pedestal features a hole for the insertion of a mandorla, which is missing. Unlike most Buddha statues from

View Object Record

Stoneware jar with natural ash glaze, squat body and lid. Along the widest horizontal stretch is a design of incised concentric circles, with another row above consisting of circles comprised of a pattern of impressions marking the edge of each circle. The convex curve of the lid also contains a row of incised concentric circles, before sloping into a concave valley, and rising up again to a small plateau. It is on this landing that a cintamani style knob rests.<br />
<br />
This is a dark blue-gray, high-fired stoneware lidded bowl with a stamped design. The lid features a pearl-shaped knob at its center and gently slopes down from its flat upper part. A row of double circles encircles upper part of the lid, with the circles in irregular positions. The bowl is widest in its upper part, while its flange slopes steeply inwards. Two thinly incised horizontal lines encircle the upper part of the body. Above these is a row of circles made of engraved dots, while between them is a row of double circles encirclin

View Object Record

$This bowl exemplifies early-tenth century celadon forms influenced by Chinese Yue ware. It has a halo-shaped foot (haemurigup), a characteristic of Yue ware. It is a high-quality celadon made from fine clay, coated by highly transparent glaze. Surface is plain while displaying crackles on its inner surface and parts of its outer surface. Many similar vessels were excavated from the Kilns no. 9 and no. 10 at Yongun-ri, Gangjin-gun, Jeollanam-do. Refractory spur marks created during firing remain in five places on the rim of the foot. [Korean Collection, University of Michigan Museum of Art (2014) p.88] Stoneware tea bowl with celadon glaze.$

View Object Record

$Stoneware ewer with celadon glaze in the shape of a calabash, or double-gourd. The handle mimics the tendrils of the gourd. A long, thin spout curves slightly outward from the rounded base, and a small lid crested by a tendril-like loop covers an opening at the top of the ewer. This is an undecorated gould-shaped ewer. Its stopper, handle joints, handle, and spout show traces of repair and restoration. The at base retains four refractory spur marks and was glazed only in the center of the outer base. The glaze was not fused well in parts, leaving some runnings, but it is well balanced in form. [Korean Collection, University of Michigan Museum of Art (2014) p.132]$

View Object Record

<p>Despite some glaze runnings, this high-quality vessel serves as a ne example of the 12th and 13th century celadon that features a good quality of clay body, glazed surface and glaze color. Its outer rim has a fret-patterned band,and on the outer wall are inlaid peony spray designs in three places. The mouth rim curves inwards slightly. The foot is low and has traces of silica spur, as well as cracks in two places.<br />
[<em>Korean Collection, University of Michigan Museum of Art </em>(2014) p.119]<br />
 </p>
Rounded tea bowl with celadon glaze. A lightly incised peony design is spaced along the widest stretch of the cup, and below the rim is an incised fret pattern.

View Object Record

<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>

View Object Record

Images included here will be featured in the 2018 Distance Learning component of the Single Shard tour. UMMA partners with the Nam Center for Korean Studies to provide a tour based on this young adult novel.