Goryeo celadon is a type of celadon pottery that originated in the Goryeo dynasty of the Korean Peninsula, evolving from celadon introduced from the Yue ware.
Decorations such as inlaid were applied, creating a unique style of celadon not found in Chinese celadon, and it was imported to China and Japan during the Azuchi-Momoyama period.
This presentation will explain how Goryeo celadon is made and what inlay is, accompanied by photographs of ceramics from our museum’s collection.
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What is Goryeo celadon?
This refers to celadon pottery fired during the Goryeo Dynasty (918-1392) on the Korean Peninsula.
Goryeo celadon, along with Goryeo Buddhist paintings, is a globally acclaimed art form produced by the Goryeo dynasty.
Influenced by the Yue ware, Yaozhou ware, and Ru ware of China, beautiful celadon was produced along with improvements in pottery techniques.
This beautiful celadon, sometimes called jade, features unique inlay techniques not found in China, and its refined form makes it very opulent.
In the 12th century, it was called “jade color” and was considered valuable not only in Korea but also in China and Japan.。
The History of Goryeo Celadon
The Goryeo Dynasty (918-1392) was established on the Korean Peninsula, and influenced by the Yuezhou kilns of the Song Dynasty in China, the production of Goryeo celadon began in the mid-10th century.
Goryeo’s King Taejo, Wang Geon, had exchanges with the Wuyue Kingdom of China, and it is believed that the “secret color (Hisoku)” and firing techniques of the Yue ware, which were the pride of the Wuyue Kingdom, were brought to Korea.
The kilns in Bangsan-dong, Siheung, Gyeonggi Province, where early Goryeo celadon was fired, used a similar brick-built kiln structure to the Yuezhou kilns.
Furthermore, evidence of this history, Yue ware celadon has been unearthed in Korea.
In the 10th century, the custom of tea drinking reached its peak during the Goryeo dynasty, leading to increased demand for tea utensils. Celadon bowls from the Yue ware and white porcelain from the Gyeongju and Ding were imported.
Around this time, Goryeo began producing celadon bowls similar to those imported from the Yue ware, and by the 11th century, bowls with ring-shaped foot were being produced.
Early Goryeo celadon developed as bowls for tea drinking, and during this period, a magnificent culture flourished under a system centered on the aristocracy.
The 12th century is considered the golden age of Goryeo celadon, with numerous ceramic pieces featuring refined forms and beautiful glazes being fired.
Production is believed to have taken place in Gangjin, Jeollanam-do, and Buan, Jeollabuk-do.
Influenced by the Yaozhou ware of China, Goryeo celadon often featured carved patterns such as stamped designs and relief carvings, as well as openwork.
Furthermore, there are indications of exchange with the Northern Song dynasty, as Goryeo celadon produced vessels with shapes similar to those of Ru ware.
Then, with the social changes brought about by the Musin Rebellion of 1170, the style of porcelain changed, and in addition to monochromatic porcelain, decorated porcelain began to be produced, and “inlaid” techniques were introduced.
This inlaid technique is unique to Goryeo celadon and was favored as a high-quality product even in Hebei, China, adding splendor to the history of ceramics on the Korean.
During the Joseon Dynasty, as Buncheong ware and white porcelain became popular, Goryeo celadon gradually disappeared from the market. However, from the 19th to the early 20th century, it was unearthed from Goryeo-era tombs and ruins, and its beauty has once again attracted attention.
In China, Goryeo celadon was highly regarded as “the finest in the world,” and numerous pieces have been unearthed in Hangzhou, the capital of the Southern Song Dynasty, indicating that it was widely used in China as well.
Characteristics of Goryeo celadon
The glaze of Goryeo celadon pottery is a lineage of grayish-blue-green glazes introduced from the Yue ware, and in the 12th century, it was called “Hishoku” (jade color) because of its jade-like appearance.
While many pieces have a calm, subdued grayish-blue hue, there is a wide variety, from green, glassy glazes to those that are almost transparent.
The surface of the vessel is then adorned with various techniques such as inlaid, relief and intaglio carving, openwork, and kneaded.
These decorative patterns are not limited to just one type; multiple patterns are often combined.
While Chinese porcelain is known for its understated beauty, Goryeo celadon can be described as having an ornate beauty.
Inlaid
Inlaid with white, black, and red
Inlaid is a technique where grooves are carved into the base clay, and then different colored clays (white, black, red, etc.) are embedded into the grooves to create patterns.
Applying a celadon glaze over the inlaid creates a contrast with the blue-green glaze, making the patterns stand out clearly.
Originally, this was a term used in metalwork.
The quality of the inlaid depends on the type and sophistication of the pattern.
Common patterns include chrysanthemums, lotus petals, flowers, thunder patterns, cloud cranes, and cloud dragons, and rarer examples include Chinese characters and Sanskrit characters.
Red patterns painted with copper coloring are considered extremely valuable.
For more detailed information about inlaid work, we recommend this article.
高麗青磁の中で人気の高いの「象嵌（ぞうがん）」について詳しく解説いたします。象嵌は高麗青磁が最盛期を迎える12世紀前半ころに高麗独自の装飾技法としてうまれました。元々は金工・漆工などで行われた技法を陶磁器に応用いたしました。独自に発展した装飾技法で中国からも高く評価されました。代表的な象嵌の模様もご紹介いたします、模様の名前が知りたいという方もご覧ください。
Relief carving / Intaglio carving
Lotus petal motif in relief.
In this technique of creating patterns through carving, designs that appear to rise from the surface of the vessel are called “relief carving”, while designs that are carved into grooves are called “intaglio carving”.
This technique was widely used in the Yaozhou ware of China, and is also frequently seen in Goryeo celadon ware, which was inspired by it.
Glaze accumulates in the steps and grooves, and the resulting variations in color create beautiful patterns.
There are various patterns, including chrysanthemums, flowers, lotus petals, and arabesque designs, and intaglio carvings, in particular, often feature large patterns that cover the entire surface of the vessel.
Lotus flower pattern in intaglio.
Many pieces are decorated using inlay work in conjunction with other techniques.
Furthermore, in addition to carving patterns, there are also techniques that involve pressing a mold onto the surface to create designs.
Openwork carving
Lotus arabesque pattern in openwork.
Openwork carving, where patterns are carved so that the inside is visible, is called openwork.
Openwork carving was mainly applied to tools that do not use liquids, such as brush stands and boxes.
Connected patterns such as arabesque, floral, and tortoise shell motifs are used.
Marbled(kneaded)
KnMarbled Celadon
Unlike the three techniques mentioned earlier, which are applied later, this technique is applied to the base clay beforehand.
Multicolored clays are mixed in a mottled pattern to create a marble-like mottled effect.
In Goryeo, celadon clay, white clay, and red clay were mainly used to paint in three colors: white, black, and gray.
Because different types of clay are mixed, the difference in shrinkage rates makes them prone to cracking during firing, making these pieces extremely rare and valuable.
Our museum’s recommended Goryeo celadon
Goryeo Celadon Semi-Cylindrical Tea Bowl
In Japan, these bowls were used for the tea ceremony, but in Korea, they are believed to have been used for drinking water pepper soup.
Many inlaid Goryeo celadon pieces were imported to Japan, but cylindrical tea bowls are rare, and semi-cylindrical tea bowls are especially uncommon.
The chrysanthemum motif is meticulously depicted, including the leaves and buds, and the rim is very carefully crafted, suggesting it was made for someone of high status.
Click here for details about this ceramics.
高麗時代に焼かれた青磁の半筒茶碗。高麗青磁の筒茶碗は佗び茶勃興期の室町時代に日本に持ち込まれると茶の湯に使用されました。筒茶碗はその名の通り筒状であり、熱が逃げにくいことから冬場の茶室で使われていました。
Goryeo Celadon Bowl
Towards the end of the Takadai period, production methods shifted to mass production, resulting in irregular shapes and uneven glaze, as seen in this piece.
The rim slopes downwards somewhat unevenly, and the glaze is not applied uniformly, creating interesting patterns of glaze accumulation and runoff.
There is no footring; the flat bottom is densely covered with crushed stones.
This is a rare piece that gives a sense of the end of Goryeo celadon.
Click here for details about this ceramics.
青磁釉を用いた陶磁器は李朝で作られましたが、大ぶりなものはなく、当品は18cm程度と大きめのため高麗時代末期と考えられます。高麗青磁は貴族文化として作られ、中期には上品できっちりとした青磁が作られるようになります。
Goryeo celadon is an easily accessible collection.
Goryeo celadon porcelain is familiar to many in Japan due to its connection to the tea ceremony culture.
While several pieces are designated as Important Cultural Properties, there are actually no Goryeo celadon pieces designated as National Treasures in japan.
However, the diverse inlays and decorations mean that very few pieces are exactly alike, and many collectors look forward to discovering new pieces.
The fact that they are not excessively expensive to purchase, making them easily accessible for collections, is another reason for their popularity in World.
Our museum’s official store, “SANKA” also carries a large collection of Goryeo celadon porcelain, so we encourage anyone interested to take a look.
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