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 N: Shelf 2
Selections from the Margaret Watson Parker Collection
Margaret Watson Parker (1867-1936) was an important donor of Japanese art to the Museum in its formative years. She was an avid collector of prints by James McNeill Whistler when her good friend, Charles Lang Freer (1854-1919), introduced her in 1895 to the arts of Japan. Parker visited Japan in 1907, and Freer accompanied her to Japanese collectors, dealers, and artists, from whom she personally purchased most of the decorative arts in her collection.
The series of small containers with black and red lacquer and gold, copper, and silver designs are furnishings for a bridal trousseau in the late Edo period (1615– 1868). Among the upper-class samurai of this period, marriages were negotiated between families and arranged to suit political or economic concerns. Families invested considerable resources in the education and material comfort of their daughters, and lavish bridal trousseaus, once a luxury reserved for daughters of court aristocrats or the most powerful warlords, became a social necessity for any high-ranking samurai family. A standard trousseau would include a custom-made set of over forty items, made of lacquered wood and adorned with the family crests of the bride and groom.
The delicate, thinly potted ceramic wares were made by Seifû Yohei III (1851–1914), one of the most prominent ceramic artists working in Kyoto in the late nineteenth and early twentieth century. Seifû was known for having mastered an extraordinary range of techniques, including celadon and white porcelain and created exquisite works, such as the white teapot and pitcher with carved dragonfly design.
Deep washbowl
lacquered wood
6 in x 13 3/8 in (15.24 cm x 33.97 cm)
Bequest of Margaret Watson Parker
Footed deep bowl
Red lacquer on wood
3 3/8 in. x 5 1/2 in. ( 8.5 cm x 13.9 cm )
Bequest of Margaret Watson Parker
Rectangular box with cover and inner tray
lacquered wood
5 7/8 in x 8 in x 10 5/16 in (14.92 cm x 20.32 cm x 26.19 cm)
Bequest of Margaret Watson Parker
Covered oblong box
lacquered wood
3 3/4 in x 15 11/16 in x 3 3/4 in (9.53 cm x 39.85 cm x 9.53 cm)
Bequest of Margaret Watson Parker
Shaver container
lacquered wood
1 9/16 in x 7 1/2 in x 1 5/8 in (3.97 cm x 19.05 cm x 4.13 cm)
Bequest of Margaret Watson Parker
Oval water tray
lacquered wood
1 9/16 in x 4 3/4 in x 2 13/16 in (3.97 cm x 12.07 cm x 7.14 cm)
Bequest of Margaret Watson Parker
Stacked Cylindrical container
lacquered wood
3 in x 2 1/8 in (7.62 cm x 5.4 cm)
Bequest of Margaret Watson Parker
Container with lid
lacquered wood
2 1/4 in x 2 13/16 in (5.72 cm x 7.14 cm)
Bequest of Margaret Watson Parker
Deep washbowl used in preparation of ohaguro, from a bridal trousseau
black and gold lacquer on wood
4 7/16 in. x 9 5/8 in. x 7 11/16 in. ( 11.3 cm x 24.5 cm x 19.6 cm )
Bequest of Margaret Watson Parker
Container with lid
lacquered wood
2 7/16 in x 2 1/2 in x 2 1/2 in (6.19 cm x 6.35 cm x 6.35 cm)
Bequest of Margaret Watson Parker
Round box with lid
lacquered wood
2 1/8 in x 5 1/8 in (5.4 cm x 13.02 cm)
Bequest of Margaret Watson Parker
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