A stoneware vessel designed for pouring or possibly to serve as an oil lamp, in the shape of a duck. The lower half of the duck's body and "legs" are formed by a shallow bowl on an openwork pedestal; the sides of the bowl have been compressed to make an elongated shape. The upper half of the duck's body, and its neck and head are formed by hand, The duck's body is hollow, with two aperture: liquids can be poured in through a funnel with a cup-shaped mouth on the duck's back, and liquids can be poured out through a wide opening at the tail.
Ancient Koreans believed birds were the messengers to the spirit world because they can travel over land and water and through the sky. In villages figures of birds can still be seen atop tall wooden poles, recalling their earlier importance. Because they mate for life, even today Koreans especially favor ducks. Many duck-shaped vessels have been discovered in tombs in the ancient regions of Gaya and Silla, suggesting their importance in those ancient cultures (42 - 562)
Blank background. On the right half of the painting, there is a duck and a few plant leaves. The artist signed his pen name, "Host of the Eight-inkstone Mansion," with seal on the right edge of the painting.
In this large scroll Gao depicts a duck swimming among aquatic plants in the shade of a cluster of lotus.
Gao Qipei was an accomplished painter with an unusual technique: instead of using a brush, he painted with his fingertips, nails, palms, and the backs of his hands. The lively execution, harmonious washes, and untrammeled, variegated effects—impossible to achieve with a brush—demonstrate Gao’s consummate skill in finger painting.
Terracotta-colored plain weave silk with woven pattern of paired ducks within lozenge-shaped floral scrolls; brocade done in thick white, light blue, and apricot silk floss; turquoise and purple-metallic-wrapped threads; and kinran (metallic coated paper) in two shades of gold.
Tatsumura Silk Studio fukuro obi featuring a Central Asian motif of paired ducks.
This lidded vessel forms the shape of a duck, with a tail pointing from the rear and a head rising to face forward in the front. Qhite slip was applied with visible and long brish strokes, and iron oxide painting adds a rusty hue to match the lower, unglazed clay color.
Honored as artist of the year in 2004 by the National Museum of Contemporary Art in South Korea, Kim Yik-Yung's peices draw on Joseon courtly elegance and combine abstract forms with a focus on the overlap between function and aesthetic.
In this monumental scroll, Nukina Kaioku has brushed a Chinese poem of his own composition, on the enduring theme of nature as refreshment for the spirit. Note his masterful variation of thick and thin strokes, wet and dry ink, stately and rapid movement.
The verses may be tentatively rendered into English as follows:
Mandarin ducks enjoy the fresh water; their graceful forms glow as they pass through channels in the reeds.
Pushing beyond the thickets [to the open pond], they call to one another again and again in the dawn.
A crimson mist breaks through gaps in the glade, its glow warming hidden nests.
Waking up with nothing to do, [I came here] to playfully row among the spring waves.
Calligraphy was considered the quintessential art of the East Asian scholar, as it reveals both the writer’s knowledge of tradition and his own persona. By following each line of text, we can visually and even kinesthetically experience the gestures of the artist’s brush, arm, and whole body. Because nothing is hidden or re-worked, the creative process seems to replay itself before our eyes in real time, with searing honesty. it is a supremely confident work, probably from the last two decades of his life.