Part of: Albertine Monroe-Brown Study-Storage Gallery (80 resources )
![This jar has a long and upright mouth with a robust shoulder that give way to a body tapering toward the base. The crane, cloud, pine tree and rock are painted with blue and red copper pigment.<br />
<br />
This jar was produced at a kiln in Bunwon-ri, Gwangju-si, Gyeonggi-do after the privatization of official court kilns in 1883. Ten longevity symbols, including pine trees, rocks, lingzhi fungus, deer, cranes, clouds and bamboo, are decorated in cobalt-blue and copper-oxide pigment was used in parts to decorate the jar. Such jars featuring the ten longevity symbols were often used at events such as elder statesmen’s gathering (giroyeon) and 60th birthday parties (hoegabyeon). Crackles were formed on the mouth and body, which are contaminated with impurities, but it remains intact overall. The foot retains traces of coarse sand supports, but lots of cracks were formed.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.169]](/media/W1siZiIsIjIwMjIvMDUvMjUvNjdqd3QzZzEybV9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=fecc2783f3328016 "This jar has a long and upright mouth with a robust shoulder that give way to a body tapering toward the base. The crane, cloud, pine tree and rock are painted with blue and red copper pigment.<br />
<br />
This jar was produced at a kiln in Bunwon-ri, Gwangju-si, Gyeonggi-do after the privatization of official court kilns in 1883. Ten longevity symbols, including pine trees, rocks, lingzhi fungus, deer, cranes, clouds and bamboo, are decorated in cobalt-blue and copper-oxide pigment was used in parts to decorate the jar. Such jars featuring the ten longevity symbols were often used at events such as elder statesmen’s gathering (giroyeon) and 60th birthday parties (hoegabyeon). Crackles were formed on the mouth and body, which are contaminated with impurities, but it remains intact overall. The foot retains traces of coarse sand supports, but lots of cracks were formed.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.169]")
![It has a long, thin neck and flat oval body. The wide foot is rather shallow but deeply recessed on the underside. The entire of surface is decorated with peony blossom design printed in cobalt blue sigment.<br />
<br />
This is a long-necked white porcelain bottle with peony sprays wrapping around the entire body. The white porcelain background is bright in colour, while the light and dark contrasts of the peony pattern give its flowers a three-dimensional appearance. There are sand spur marks on the foot, and on the outer base are incised symbols. Such marks are found in the waste deposits of kilns in Bunwonri, Gwangju-gun, Gyeonggi-do at the end of the 19th century. The mouth has been severed lost. This is a high-quality white porcelain bottle, with well sintered clay and glaze, but the rim has been severed and lost.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.179]](/media/W1siZiIsIjIwMjIvMDUvMjUvNm53OGhsdGg5cl9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=b31b27d59eab8bb0 "It has a long, thin neck and flat oval body. The wide foot is rather shallow but deeply recessed on the underside. The entire of surface is decorated with peony blossom design printed in cobalt blue sigment.<br />
<br />
This is a long-necked white porcelain bottle with peony sprays wrapping around the entire body. The white porcelain background is bright in colour, while the light and dark contrasts of the peony pattern give its flowers a three-dimensional appearance. There are sand spur marks on the foot, and on the outer base are incised symbols. Such marks are found in the waste deposits of kilns in Bunwonri, Gwangju-gun, Gyeonggi-do at the end of the 19th century. The mouth has been severed lost. This is a high-quality white porcelain bottle, with well sintered clay and glaze, but the rim has been severed and lost.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.179]")
![<p>The inner base and walls of this celadon dish are mold-impressed with a peony and peony scrolls, respectively. The low foot retains traces of quartzite supports in three places. The glaze is poorly fused, showing traces of its running, while partial oxidization has given the dish a yellow-green hue in parts.<br />
[<em>Korean Collection, University of Michigan Museum of Art </em>(2014) p.114]</p>
The rim of this celadon saucer is outward flared. Fine crackles are present throughout the surface of the saucer, coated with a dark bluish green glaze. It has glazed short foot with 3 spur marks and is molded peony design on wall and bottom. The exterior glaze color change due to over heating, fired in sagger that was not tightly closed.](/media/W1siZiIsIjIwMjIvMDkvMjQvM2I3YWQ3MmZ2OF9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=43157896c18036d2 "<p>The inner base and walls of this celadon dish are mold-impressed with a peony and peony scrolls, respectively. The low foot retains traces of quartzite supports in three places. The glaze is poorly fused, showing traces of its running, while partial oxidization has given the dish a yellow-green hue in parts.<br />
[<em>Korean Collection, University of Michigan Museum of Art </em>(2014) p.114]</p>
The rim of this celadon saucer is outward flared. Fine crackles are present throughout the surface of the saucer, coated with a dark bluish green glaze. It has glazed short foot with 3 spur marks and is molded peony design on wall and bottom. The exterior glaze color change due to over heating, fired in sagger that was not tightly closed.")
![<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>](/media/W1siZiIsIjIwMjIvMDkvMjQvOTlvajVlZGNtbl9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=15576c14322f15fc "<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>")
![<p>The long neck, curvilinear body, and ared mouth of this vessel create a typical Goryeo celadon bottle. A band of lotus petals inlaid with black and white slips is wrapped around the lower part of the neck, below which is a yeoui-head band inlaid with white slip. Three places around the belly of the bottle are decorated with lotus sprays inlaid with black and white slips. The glaze on the lower part of the body has been oxidized, where it is also extensively cracked. The foot is low, with a wide rim, and has sand spur marks.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.143]</p>](/media/W1siZiIsIjIwMjIvMDkvMjQvMXFmdnRueTRuNl9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=0ca4162fd5e5e61f "<p>The long neck, curvilinear body, and ared mouth of this vessel create a typical Goryeo celadon bottle. A band of lotus petals inlaid with black and white slips is wrapped around the lower part of the neck, below which is a yeoui-head band inlaid with white slip. Three places around the belly of the bottle are decorated with lotus sprays inlaid with black and white slips. The glaze on the lower part of the body has been oxidized, where it is also extensively cracked. The foot is low, with a wide rim, and has sand spur marks.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.143]</p>")
Cabinet H: Shelf 2
Mortuary Art from China
Throughout its long history, Chinese culture has continuously shown a special reverence for the deceased; this is rooted in the belief that the dead are still present and are able to influence life on earth. For many centuries, a tomb was considered a lasting home for the body, to be equipped with the same kinds of material goods that provided pleasure and comfort in life. Because buried artifacts are more likely to survive the passage of time, our most vivid and tangible understanding of ancient Chinese life often comes from objects excavated from tombs.
Ceramics have played a central role in tomb furnishings in many historical periods as storage containers for grain and wine and as ming qi, or “spirit goods.” Manufactured exclusively for tombs, ming qi are the miniature clay models of houses, livestock pens, animals, and humans that so delight us today for their charming recreation of village and city life. Ming qi first came into widespread use in the Han dynasty, partly as substitutes for human and animal sacrifices, but also as a reflection of a new, more practical worldview.
Guardian figures demonstrate another interesting aspect of Chinese mortuary culture. It was believed that after death the soul was freed from the body and could roam around the universe without hindrance; since family members did not like the idea of powerful ancestors, particularly those with unsettled grievances, wandering around freely, guardians were posted at the doorways of tombs to keep spirits from getting either out or in.
Five Attendants
earthenware with glaze and mineral pigment
12 1/2 in (31.75 cm)
Gift of Jiu-Hwa Lo Upshur
Sedan Chair
earthenware with glaze
10 1/4 in x 5 3/8 in x 12 5/8 in (26.04 cm x 13.65 cm x 32.07 cm)
Gift of Jiu-Hwa Lo Upshur
Duck
earthenware with glaze
3 1/8 in x 2 11/16 in x 1 9/16 in (7.94 cm x 6.83 cm x 3.97 cm)
Gift of Willard A. and Marybelle Bouchard Hanna
Pair of Chests
glaze on earthenware
4 1/4 in x 5 in (10.8 cm x 12.7 cm)
Gift of Jiu-Hwa Lo Upshur
Water Dropper
glaze on earthenware
1 in x 2 1/16 in x 3 1/8 in (2.54 cm x 5.24 cm x 7.94 cm)
Gift of Toshiko Ogita in memory of Tomoo Ogita
Bird-shaped Whistle
earthenware with glaze
2 5/16 in x 2 1/4 in x 1 9/16 in (5.87 cm x 5.72 cm x 3.97 cm)
Museum Purchase
Standing Screen
earthenware with glaze
10 1/2 in x 7 5/8 in x 2 15/16 in (26.67 cm x 19.37 cm x 7.46 cm)
Gift of Jiu-Hwa Lo Upshur
Screen on Plinth with Finials
glazed pottery
8 1/2 in. x 7 1/2 in. x 2 11/16 in. ( 21.6 cm x 19 cm x 6.8 cm )
Gift of Jiu-Hwa Lo Upshur
Kneeling Woman
earthenware with mineral pigment
5 11/16 in x 2 11/16 in x 2 11/16 in (14.45 cm x 6.83 cm x 6.83 cm)
Gift of Willard A. and Marybelle Bouchard Hanna
Small Bird
earthenware with glaze
1 1/16 in x 15/16 in x 1 3/16 in (2.7 cm x 2.4 cm x 3 cm)
Gift of Toshiko Ogita in memory of Tomoo Ogita
Small bird
earthenware with glaze
1 1/8 in x 1 in x 1 1/4 in (2.8 cm x 2.6 cm x 3.2 cm)
Gift of Toshiko Ogita in memory of Tomoo Ogita
Seated figure of a woman with bowls (originally part of the furnishings of a tomb)
earthenware with traces of polychrome
4 15/16 in. ( 12.54 cm )
Gift of Dr. D.K. Lieu
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June 8, 2020 7:45 a.m.Report
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