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Korean Art for Touring

Wood rectangular pillow covered in a white cotton slip with embroidered flowers on the end. Red base with gold border containing blue Korean characters.
Korean
Pillow
20th century
cotton, silk | wood
Gift of Keum Ja and Byung Schick Kang
2018/1.323
A glazed porcelain jar, whose body is wide and round with a lipped, wide opening. Detailed with a Korean character, possibly a label for the jar&#39;s contents, in blue.<br />
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Both sides of the shoulder are decorated with letters that resemble Japanese hiragana syllables. The vessel appears to have been produced under the influence of Japanese technology and capital. The entire vessel is glazed except the foot rim. The high kaolin content of the clay has produced a light jar with thin walls.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.208]
Korean
Porcelain Jar
porcelain
3 3/4 x 5 15/16 x 5 15/16 in. (9.5 x 15 x 15 cm)
Gift of Ok Ja Chang and the Chang Family
A ceramic rounded bowl with a tall, trapered cylindrical stand with a wide lip. The base is detailed with staggered square cut-outs that run from the lip to the middle of the base.<br />
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This is a dark-gray, single-tiered, perforated, high-fired stoneware stem cup. The body of the cup curves upwards, and the rim has a sharp edge, while the inner surface of the mouth is tapered. A deep incised line divides the pedestal into its upper and lower halves; the lower half features square perforations. A natural glaze is pooled at the base of the cup, while the bottom of the outer surface shows traces of rotation and water smoothing.
<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 65]</p>
Korean
Bowl with Stand
6th century
ceramic |
Gift of Ok Ja Chang and the Chang Family
2009/2.72
A chest in three pieces, all stacked on top of on another. The two chest pieces feature small center doors with decorative iron fittings around the handles and the hinges. Highly decorative iron fittings are added at intervals around the edges of the chest.<br />
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Stacked chest (<em>nong</em> ) resembles chest (<em>jang</em> ) in form. However, there is a difference that each tier of stacked chest (<em>nong</em> ) is detachable, while the tiers of chest (<em>jang</em> ) are inseparable. The panels used for the front are made of zelkova wood, and veneer was attached to the back of the panels to prevent twisting or bending. It is, however, difficult to discern what type of wood was veneered, as Korean paper (<em>hanji</em> ) is pasted over it. Nevertheless, considering that this chest was produced in the areas of Tongyeong-si, it is assumed that the veneer was probably made of paulownia wood. The top, side panels and bottom panel are all joined by finger joints, while the back panel is attached by butt
Korean
Chest (in three pieces)
1850 – 1950
wood and iron fittings |
Museum Purchase made possible by the Margaret Watson Parker Art Collection Fund
2009/2.26A-C
A bundle of thin fibres (which form the brush) held together by thin strips of wood wrapped around one half of the bundle, topped with a piece of cloth to create a cap.<br />
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This brush was used in a procedure called bemaegi , which involves starching fabric to level threads on the surface of the warp and maintain humidity. It was made of pine roots and by binding them together at the end of the handle with hemp cloth.
<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 279]</p>
Korean
Brush
1900 – 1950
wood, fiber |
Gift of Ok Ja Chang and the Chang Family
2009/2.52
This rice bowl, or <em>jubal</em>, has a flat base. Normally, such rice bowls are classified into three different sizes: large, medium-sized and small. Their shapes are almost identical.<br />
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<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 250]</p>
Korean
Bowl
brass
2 9/16 x 4 1/16 x 4 1/16 in. (6.5 x 10.2 x 10.2 cm)
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
A tall glazed and speckled porcelain offering dish for an altar. The base is a narrow and sharply tapered cylinder which meets an angular bottom of a dish. The dish itself is wide and shallow.<br />
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This vessel built from low quality clay and is coated with a blue-green-tinted glaze, giving it a pale green-brown tone overall. Coarse sand is stuck to the foot rim. The tray is contaminated by many impurities and iron spots. The vessel was produced at a regional kiln.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.199]
Korean
Altar Dish
1850 – 1899
glazed porcelain |
Gift of Ok Ja Chang and the Chang Family
2009/2.45
It is a urinal earthware. There is a everted mouth on the round body. It is unglazed.<br />
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This is a gray, turtle-shaped, low-fired earthenware bottle. The neck is attached to one end of the body, rising outwards before flaring out once again. Its rim is round. The inner surface of the neck and the lower part of the body show signs of rotation and water smoothing. The bottom of the bottle is rounded.
<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 77]</p>
Korean
Turtle-shaped Bottle
500 – 699
stoneware, unglazed |
Gift of Estelle Titiev, from the collection of Mischa Titiev
1984/2.8
A small glazed porcelain piece resembling a cake stand. The top is detailed with a carved geometric pattern that would imprint the rice cake being molded on it.<br />
Rice cake stamps are used to impress designs upon rice cakes. They are generally made of wood or ceramic. Ceramic rice cake stamps normally come in the form of round stamps and consist of a patterned surface and a handle. Patterns, carved or raised, on the stamp vary from geometric lines to auspicious designs that wish for prosperity and longevity. Their small size makes them highly portable, while their simple yet contemporary designs have mad them popular among collectors. The University of Michigan Museum of Art collection includes nine white porcelain rice cake stamps. Some are gifts from Mr. and Mrs. Hasenkamp, and others are gifts from Ok Ja Chang and the Chang family.<br />
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The base of the foot is carved into a concave surface. Glaze has been wipe way from the foot rim. This stamp is made from pure white clay.<br />
[Korean Col
Korean
Rice Cake Mold
1900 – 1950
glazed porcelain |
Gift of Ok Ja Chang and the Chang Family
2009/2.82
It is simple in shape, like a donut but with a sharply trimmed rim in the manner of a metal vessel. The hole in the middle is believed to be a symbol of Eastern philosophy. Designs are painted on the surface in cobalt blue pigment.<br />
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This ring-shaped water dropper is decorated with a figures-in-landscape design on its upper surface and a floral scroll design on its sides rendered in cobalt blue. A line runs around the foot and sand was used as kiln spurs. The clay and glaze are well fused. This is one of many water droppers that were produced at Bunwon-ri, Gwangju-si, Gyeonggi-do, in the late 19th century.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.183]
Korean
Blue-and-white water dropper with landscape design
porcelain with blue underglaze painting
1 3/8 x 3 1/4 x 3 1/4 in. (3.4 x 8.2 x 8.2 cm)
Gift of Mr. Harry C. Nail, Jr.
Porcelain wine bottle with ten cobalt pigment depicting Chinese Daoist ten symbols of longevity&mdash;sun, cloud, mountain, rock, water, crane, deer, turtle, pine tree, and the mushroom of eternal youth. A blue band rings the foot of the bottle, as well as just below the main register of the body. The ten symbols of longevity design stretches around the bulbous body above, tapering off as the body begins to taper into the tubular neck, culminating in a slightly flared rim.<br />
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This bottle was produced in Bunwon-ri, Gwangju-si, Gyeonggi-do. It is decorated on the entire surface with ten longevity symbols, including deer, pine trees, and cranes, rendered in underglaze cobalt blue. Ten longevity symbols were frequently chosen to decorate the stationery, bottles, and jars produced in the late 19th century at kilns in Bunwon-ri. This is a high-quality white porcelain bottle, with well sintered clay and glaze and outstanding cobalt blue colouring.<br />
[Korean Collection, University of Michigan Museum
Korean
Wine bottle with Ten Symbols of Longevity design
porcelain with cobalt pigment under colorless glaze
12 3/16 x 8 1/4 x 8 1/4 in. (30.8 x 20.8 x 20.8 cm)
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
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 />
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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&rsquo;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]
Korean
Blue-and-white balustrade jar with design of stag, crane, and pine tree
1850 – 1899
porcelain with blue and iron brown underglaze painting |
Transfer from the College of Architecture and Design
1972/2.81

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Last Updated

February 27, 2021 9:02 p.m.

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