Ink sketches depict a large female profile in the upper left corner facing right, a female head in the lower center, a smaller female head in the right center facing upwards, and a smaller female profile in the left center facing downwards. There is empty space in upper right quadrant.
This sheet, cut from a larger sheet, features a study of a woman’s face in profile in the upper left. Her hair is bound. A nearly frontal view of another woman’s face is at the center bottom of the sheet. She looks down to her left and wears a jeweled headpiece or crown. Three other smaller and more lightly sketched heads also appear on the sheet, two along the left edge and one on the right.
The heads are all lightly drawn with a finesse characteristic of della Bella, one of the most talented and prolific draftsmen and printmakers of the seventeenth century.
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.
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.
This rustic looking bowl has a circular base from which the rounded shape of the bowl extends. The clear glaze reveals the brown and black tones of the materials.
During the rise of wabi aesthetics in Momoyama period (1583-1615), Japanese tea masters discovered the rustic earthenware rice bowls that were in widespread use among Korean peasant farmers. These simple bowls fit perfectly the wabi aesthetic taste for rusticity and simplicity. When many Japanese warlords, who were fervent tea practitioners themselves, went to Korea with the invasion attempts of Toyotomi Hideyoshi (1537-1598) in the 1590s, many ido chawan or “well-side tea bowls” were carried home and treasured as family heirlooms. Korean potters were also relocated to Japan as part of the spoils of war, and their descendants at the Hagi clan kilns in western Japan continued to make a ware that recalls the ido type.
Bottle with full, rounded base that tapers into a thin neck that terminates in a lipped rim. From the neck up, the vase has a brown glaze. The body has a brownish gray glaze with a white drizzled squiggle decoration along it.
Globular-shaped footed stoneware vessel with four looped handles at lip and white glaze
Chinese potters perfected white glazes by the seventh century. Sturdy, white-bodied stonewares with white glaze such as this impressive jar are known as Xing ware (Xingyao); the best of these were made at the Qicun kiln in Shaanxi province, near the Tang capital city of Changan (modern Xi'an), and sent to the royal court as tribute.
The most treasured of the Chinese ceramics were the white wares, like this storage jar, from the kilns in Henan province. While the best of these were given to the imperial court as tribute ware, others found their way abroad, where they inspired local potters to attempt white wares.