It has a relatively wide mouth for its height and slighly surving sides. Originally, this tpye of bowl was first produced in celadon in the late Goryeo period and was made in large numbers in buncheong ware during the early Joseon period. The foot is shallow and roughly trimmed.
The shape, and decorative motifs and composition employed on this bowl well domonstrate characteristic features of buncheong ware during the mid 15th century when the stamping technique reached a high point.
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.
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 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)
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.
This body shape has prevailed the entire Joseon period but the tall mouth is a unique end Joseon feature. The parallel use of these two colors started in the late 18th century to continue into the following century, and seem to have been influenced by colorful folk painting.
This bottle has a slightly out-turned astragal mouth. Short slender neck and a bulbous body that is rather heavy. The whole foot is rather high and thick. The body is decorated with a simple abstract floral design in cobalt-blue pigment.
This kind of oil bottle can be seen from Union Silla and has various shapes. Small bottle is usually used to store the oil mixing the cosmetics. Bigger bottle is used to store the oil for skin beauty care or hair oil.
It is in the shape of a flat disk with octagonal sides, a type that was widely produced in the 19th century. The center of the top surface features a flower petal in a darkish cobalt blue pigment. A pale blue glaze applied over the entire surface, but has a slightly hue. The pigment used on the flower is also applied around the edgesof the octagon, more heavily so in the corners.
Water droppers were a necessary stationery items for scholars. They were produced in various shapes and sizes and featured a variety of decorative motifs in the late Joseon period. This particular dropper has a flower motif.
It is a knife made of silver. The sword blade was made of steel. Floral design was printed on the knob and Deer and bamboo was printed on the cover.
It was used with Korean traditional ornaments worn by women. But in emergency, it was used for self-protection or attack. This traditions happened in Gorye dynasty and became general in Joseon Dynasty.
It is inlaid with mother-of-pearl designed with scenery and lacquered overall.
Lacquerware are items that have been painted with a decorative material called lacquer. This style is thought to have originated in South Asia, where it is still produced in countries including China, Japan, and Burma, as well as Korea and Vietnam. These countries, while utilizing many of the same techniques and similar styles, have also developed their own characteristic elements of lacquerware. The special style of Korean lacquerware is to inlay mother-of-pearl in combination with tortoise shell.
It is decorated with the seedpod of the lotus medallion. The pod contains seven seeds, one seed in the middle surrounded by six peripheral ones(1+6 seed pattern)
Roofs and ceilings are important focal points of many traditional East Asian structures. Roofs often extend several feet beyond the walls of the structure, creating large, overhanging eaves. These two tiles would have been part of the decorated outer edge of such an eave.
Ceramic roof tiles were introduced to Korea from China around the first century BCE By the time these two examples were made, during the Silla kingdom (57 BCE–668 CE) and Unified Silla dynasty (668–935), Korean ceramic tile roofs had reached their peak in intricacy and design. Roofs made from interlocking ceramic tiles kept cold air, wind, and rain from entering a house. Due to their heavy weight, the structure supporting the roof had to be very strong. Expensive to produce, tile roofs were typically found on the homes of aristocrats and government officials, and on Buddhist and Confucian ceremonial buildings.
The ogre face was designed to ward off evil spirits at Seoul's Great South Gate. The Great South Gate, along with ones facing North, East, and West, served as both physical and metaphorical protection for the city.