Pottery is the process and the products of forming vessels and other objects with clay and other raw materials, which are fired at high temperatures to give them a hard and durable form. The place where such wares are made by a potter is also called a pottery. The definition of pottery, used by the ASTM International, is "all fired ceramic wares that contain clay when formed, except technical, structural, and refractory products". End applications include tableware, decorative ware, sanitary ware, and in technology and industry such as electrical insulators and laboratory ware. In art history and archaeology, especially of ancient and prehistoric periods, pottery often means only vessels, and sculpted figurines of the same material are called terracottas.
Pottery and porcelain is one of the oldest Japanese crafts and art forms, dating back to the Neolithic period. Types have included earthenware, pottery, stoneware, porcelain, and blue-and-white ware. Japan has an exceptionally long and successful history of ceramic production. Earthenwares were made as early as the Jōmon period, giving Japan one of the oldest ceramic traditions in the world. Japan is further distinguished by the unusual esteem that ceramics hold within its artistic tradition, owing to the enduring popularity of the tea ceremony. During the Azuchi-Momoyama period (1573–1603), kilns throughout Japan produced ceramics with unconventional designs. In the early Edo period, the production of porcelain commenced in the Hizen-Arita region of Kyushu, employing techniques imported from Korea. These porcelain works became known as Imari wares, named after the port of Imari from which they were exported to various markets, including Europe.
Celadon is a term for pottery denoting both wares glazed in the jade green celadon color, also known as greenware or "green ware", and a type of transparent glaze, often with small cracks, that was first used on greenware, but later used on other porcelains. Celadon originated in China, though the term is purely European, and notable kilns such as the Longquan kiln in Zhejiang province are renowned for their celadon glazes. Celadon production later spread to other parts of East Asia, such as Japan and Korea, as well as Southeast Asian countries, such as Thailand. Eventually, European potteries produced some pieces, but it was never a major element there. Finer pieces are in porcelain, but both the color and the glaze can be produced in stoneware and earthenware. Most of the earlier Longquan celadon is on the border of stoneware and porcelain, meeting the Chinese but not the European definitions of porcelain.
Korean ceramic history begins with the oldest earthenware from around 8000 BC. Throughout the history, the Korean peninsula has been home to lively, innovative, and sophisticated art making. Long periods of stability have allowed for the establishment of spiritual traditions, and artisan technologies specific to the region. Korean ceramics in Neolithic period have a unique geometric patterns of sunshine, or it is decorated with twists. In Southern part of Korea, Mumun pottery were popular. Mumun togi used specific minerals to make colors of red and black. Korean pottery developed a distinct style of its own, with its own shapes, such as the moon jar or Buncheong sagi which is a new form between earthenware and porcelain, white clay inlay celadon of Goryeo, and later styles like minimalism that represents Korean Joseon philosophers' idea. Many talented Korean potters were captured and brought to Japan during the invasions of Korea, where they heavily contributed to advancing Japanese pottery. Arita ware, founded by Yi Sam-pyeong opened a new era of porcelain in Japan. Another Japanese representative porcelain, Satsuma ware was also founded by Dang-gil Shim and Pyeong-ui Park. 14th generation of Su-kwan Shim have been using the same name to his grandfather and father to honor they are originally Korean, 14th Su-kwan Shim is honorable citizen of Namwon, Korea.
Korean arts include traditions in calligraphy, music, painting and pottery, often marked by the use of natural forms, surface decoration and bold colors or sounds.
"Blue and white pottery" covers a wide range of white pottery and porcelain decorated under the glaze with a blue pigment, generally cobalt oxide. The decoration was commonly applied by hand, originally by brush painting, but nowadays by stencilling or by transfer-printing, though other methods of application have also been used. The cobalt pigment is one of the very few that can withstand the highest firing temperatures that are required, in particular for porcelain, which partly accounts for its long-lasting popularity. Historically, many other colours required overglaze decoration and then a second firing at a lower temperature to fix that.
Buncheong (Korean: 분청), or punch'ong, ware is a traditional form of Korean stoneware, with a blue-green tone. Pieces are coated with white slip (ceramics), and decorative designs are added using a variety of techniques. This style originated in the 15th century and continues in a revived form today.
Underglaze is a method of decorating pottery in which painted decoration is applied to the surface before it is covered with a transparent ceramic glaze and fired in a kiln. Because the glaze subsequently covers it, such decoration is completely durable, and it also allows the production of pottery with a surface that has a uniform sheen. Underglaze decoration uses pigments derived from oxides which fuse with the glaze when the piece is fired in a kiln. It is also a cheaper method, as only a single firing is needed, whereas overglaze decoration requires a second firing at a lower temperature.
Chinese ceramics are one of the most significant forms of Chinese art and ceramics globally. They range from construction materials such as bricks and tiles, to hand-built pottery vessels fired in bonfires or kilns, to the sophisticated Chinese porcelain wares made for the imperial court and for export.
Gangjingun Kiln Sites is a tentative World Heritage site listed by the South Korean government at UNESCO. It is a complex of 188 kilns which produced Goryeo ware. The kiln sites are located in Gangjin-gun, South Jeolla Province, South Korea near the sea. Mountains in the north provided the necessary raw materials such as firewood, kaolinite, and silicon dioxide for the master potters while a well established system of distribution transported pottery throughout Korea and facilitated export to China and Japan.
Joseon white porcelain or Joseon baekja refers to the white porcelains produced during the Joseon dynasty (1392-1910).
Ceramic glaze, or simply glaze, is a glassy coating on ceramics. It is used for decoration, to ensure the item is impermeable to liquids and to minimize the adherence of pollutants.
Mishima ware (三島焼) refers to different types of imported and adopted Japanese pottery. Mishima originally refers to the shimamono pottery imported from the islands of Taiwan, Luzon, and "Amakawa" (Macau). They were characterized by being roughly-made and often uneven, thus epitomizing the Japanese aesthetic of wabi-sabi. In later centuries, it came to refer to imported ceramics (Gohon) from Korea with the slip inlay style. This style was imitated and produced locally in Japan.
Moon jar is a type of traditional Korean white porcelain which was made during the Joseon dynasty (1392–1910). The Joseon white porcelain was adopted as imperial ware in the fifteenth century. Moon jars first appeared in the late seventeenth century and remained popular until the mid-eighteenth century. However, they were not nicknamed “moon jars” until the 1950s. The name comes from its shape and milky color of the glaze to resemble the coloration of the moon. This type of vessel is unique to the Joseon Dynasty and were never produced in China or Japan.
Jingdezhen porcelain is Chinese porcelain produced in or near Jingdezhen in Jiangxi province in southern China. Jingdezhen may have produced pottery as early as the sixth century CE, though it is named after the reign name of Emperor Zhenzong, in whose reign it became a major kiln site, around 1004. By the 14th century it had become the largest centre of production of Chinese porcelain, which it has remained, increasing its dominance in subsequent centuries. From the Ming period onwards, official kilns in Jingdezhen were controlled by the emperor, making imperial porcelain in large quantity for the court and the emperor to give as gifts.
Yue ware or Yüeh ware is a type of Chinese ceramics, a felspathic siliceous stoneware, which is characteristically decorated with celadon glazing. Yue ware is also sometimes called (Yuezhou) green porcelain in modern literature, but the term is misleading as it is not really porcelain and its shades are not really green. It has been "one of the most successful and influential of all south Chinese ceramics types".
Cizhou ware or Tz'u-chou ware is a wide range of Chinese ceramics from between the late Tang dynasty and the early Ming dynasty, but especially associated with the Northern Song to Yuan period in the 11–14th century. It has been increasingly realized that a very large number of sites in northern China produced these wares, and their decoration is very variable, but most characteristically uses black and white, in a variety of techniques. For this reason Cizhou-type is often preferred as a general term. All are stoneware in Western terms, and "high-fired" or porcelain in Chinese terms. They were less high-status than other types such as celadons and Jun ware, and are regarded as "popular", though many are finely and carefully decorated.
China painting, or porcelain painting, is the decoration of glazed porcelain objects, such as plates, bowls, vases or statues. The body of the object may be hard-paste porcelain, developed in China in the 7th or 8th century, or soft-paste porcelain, developed in 18th-century Europe. The broader term ceramic painting includes painted decoration on lead-glazed earthenware such as creamware or tin-glazed pottery such as maiolica or faience.
Nabeshima ware is a type of Japanese pottery, specifically an unusually high-quality porcelain. It was produced in Ōkawachi kilns managed directly by the Saga Domain under the Nabeshima clan from the 17th to the 19th centuries. Imari ware and Arita ware were also under the control of the Saga Domain, and Nabeshima ware is sometimes regarded as a variant of Imari ware, as its kilns were located in what is now the city of Imari, Saga Prefecture Japan. The technique also differs from that of most Japanese porcelain, with the outlines of the pattern done in underglaze blue before the overglaze "enamelled" final decoration. Nabeshima ware was not made for sale, but for the specific use of the Nabeshima clan and as gifts for the Tokugawa shogunate and various daimyō. It was discontinued in 1871 with the abolition of the feudal domains, but the technique was revived as a modern craft by the Imaizumi Imaemon family, descendants of the master lineage, and has continued to the 21st century.
Yu Geun-Hyeong, pen name Haegang, was a Korean ceramist and played the leading role in the revival of Goryeo celadon.
