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Celadon Plum Vase with Inlaid Cloud, Crane, Peony, and Chrysanthemum Design
Hoam Art MuseumLifestyle
Availability: DiscontinuedProduct Information
| Product Made In: | South Korea |
| Case: | Safe Box |
Product Details
Material : Celadon
Designation : Treasure No.558
Size : H.31.2D.7.0(mouth) 14.5(base)cm
Though the mouth is somewhat large, the well-balanced form of this elegant plum vase, or maebyong, is representative of the refined taste of the Koryo aristocrats for whom such pieces as this were produced.
The surface of the handsome vase is embellished with an inlaid cloud, crane, chrysanthemum and peony design, all popular motifs among ancient Korean potters.
Twenty-six medallions encircling chrysanthemums and peonies are alternately arranged into four layers against a background of cranes flying in the clouds.
A lotus band surrounds the upper portion of the shoulder and a lotus band and frets surround the base.
The patterns, which are skillfully rendered in the sanggam inlaying technique, are stylized but still maintain the natural beauty of the individual motifs.
The vase is covered with a relatively thick coat of lustrous, pale-green glaze.
Air bubbles are trapped underneath the surface where the white-slip inlaying technique was used and wide crackle is also visible. The base is glazed and has clay and sand spur-marks.
Designation : Treasure No.558
Size : H.31.2D.7.0(mouth) 14.5(base)cm
Though the mouth is somewhat large, the well-balanced form of this elegant plum vase, or maebyong, is representative of the refined taste of the Koryo aristocrats for whom such pieces as this were produced.
The surface of the handsome vase is embellished with an inlaid cloud, crane, chrysanthemum and peony design, all popular motifs among ancient Korean potters.
Twenty-six medallions encircling chrysanthemums and peonies are alternately arranged into four layers against a background of cranes flying in the clouds.
A lotus band surrounds the upper portion of the shoulder and a lotus band and frets surround the base.
The patterns, which are skillfully rendered in the sanggam inlaying technique, are stylized but still maintain the natural beauty of the individual motifs.
The vase is covered with a relatively thick coat of lustrous, pale-green glaze.
Air bubbles are trapped underneath the surface where the white-slip inlaying technique was used and wide crackle is also visible. The base is glazed and has clay and sand spur-marks.
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