It has a relatively wide mouth for its height and slightly surving sides. The glaze was degraded. It was incised with arabesque design and inlaid with white slip.
It would be made in 14-15th century. The glaze was degraded possibly caused by erosion underwater. Many such vessels were discovered underwater in west coast of Korea. (Priof visiting scholar's opinion)
It is a fragment of roof-end tile with apsara design in relief.
Apsara design was appeared in Three Dynasty period. It can be found on the ancient tomb mural or espically on the Buddhist temple bell. It was usually carved in the form of bilateral symmetry on the roof-tile.
It flares out widely at the rim, then back in. Its sides, otherwise almost straight, taper to the base. There is no decorated.
It is presumed to be made in Gangjin Kiln. Gangjin is the representative area producing the Goryeo celadon. This place is regarded to the most important area to study Goryeo celadon. Korean government designated this area as the historic site.
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.
This is a typical bottle type of the late Joseon period, having the characteristic features of a long, thin neck and flat oval body. The bottle was likely produced at the Bunwon-ri kilns in Gwangju, Gyeonggi-do Province.
Gilt bronze standing Buddha on lotus pedestal. He is clothed in monastic robes with cascading U-shaped folds, similar to the gentle folds of his neck. His hands ake the form of two mudras: the abhaya (“have no fear”) mudra with the right hand, and varada (“wishes are granted”) mudra with the left.
It is well proportioned overall and represent Buddha in a standing position; a position quite popular in Unified Shilla Buddhist sculpture. The Ushinisha on the top of Buddha's head is tall, voluminous and black. The face is plump and facial features, including the eyes, nose and the mouth, are all rather small. The earlobes hang are hanging and the three curved lines on the neck are highly distinct.
The Buddha, standing on a lotus pedestal, with his right hand in varada mudra ("wishes are graned") and his left hand raised in abhaya mudra (the gesture of "have no fear").
This kind of statue means the promise of Buddha to dispel the fears of sentiment beings and grant all their wishes.
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.
A large number of stationery items in various shapes were produced in the late Joseon period. This circular water dropper is a typical white porcelain stationery item. The image painted on the surface includes a mountain in the background, other landscaping lines, and two characters near the foreground.
It has a slightly inverted rim and mildly surved sides tapering gradually to a narrow foot. The graze is dark greenish blue in cloor, leaning toward green. The foot was carved out from the inside tl a very shallow depth. Two parrots was carved symmetrically.
This kind of bowl may be dated to sometime in the late 13th century. Parrot design is described long tail, elliptical head and crooked beak. It was found on the bowl or vessel of the Goryeo Dynasty. Bird design represents family happiness, status rising and longevity.
The cover has a button-shaped knob at the top and is mostly plain. The mounted bowl has a outward-turned rim. This type of mounted bowl may be deated to sometime in the early 5th century.
Mounted bowl was made in prehistoric times of Korean, China and Japan. It is presumed to be used for personal vessel or ritual vessel. The leg was holed to decorate the bowl or lessen the weight of the bowl. This kind of bowl was found in Silla and Gaya Dynasty. After Silla, the leg become shorter.
The cup rest is decorated with a lotus medallion with two rows of petals and its edge and foot are also shaped like a flower.The surface is coated with a greenish blue glaze. The edge and foot of the cup stand are decorated with white inlaid chrysanthemum motifs.
Usually accompanied by a matching cup, this type of cup and stand were typically used to hold wine.
Stoneware jar with natural ash glaze, squat body and lid. Along the widest horizontal stretch is a design of incised concentric circles, with another row above consisting of circles comprised of a pattern of impressions marking the edge of each circle. The convex curve of the lid also contains a row of incised concentric circles, before sloping into a concave valley, and rising up again to a small plateau. It is on this landing that a cintamani style knob rests.
This jar is designed to hold relics of the deceased. The knob at the top of the lid is in the shape of a cintamani ("wish-granting jewel"), which could have also had significance in its function.