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White Porcelain Moon Jar, National Treasure of Republic of Korea No. 309.

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The jars are named for their milky glaze color, which resembles the moon, and their shape. They were originally used for storage and floral arrangements by anonymous potters of the royal court. The artist Kim is credited with naming them "moon jars" to enhance their beauty. Before that, they were known as "baekja daeho", which means "large white jars".

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Ko-Mashiko stoneware teapot mado-e dobin ("window picture"), Taisho/Showa era, c. 1915–35

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Mashiko-yaki, developed by Hamada Shoji during the Showa period, features vases and tableware crafted from local clay with high iron and silica content. Mingei, initiated by Yanagi Sōetsu, preserves traditional crafts like old pots from the Edo and Meiji periods. Noguchi's ceramics, created in Rosanjin's studio, blend traditional techniques with modern aesthetics influenced by Rosanjin's style and materials.

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From the 15th century, Japanese pottery was influenced by the elaborate tea ceremony (chanoyu). Introduced from China by Chan (Zen) priests, it became fixed during the shogunate of Yoshimasa in Kyoto. The ceremony, held in a small room surrounded by a garden, emphasized aesthetic appreciation and influenced pottery design profoundly.

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A contemporary Japanese artist, Kimiyo Mishima is best known for her realistic ceramic reproductions of breakable printed matter. Mishima began her painting career in the early 1960s before transitioning to ceramics in 1971. 

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Artists like Yoshimi Futamura, who has been based in Paris since 1986, draw inspiration from nature, shaping ceramics to reflect organic forms. Yuji Ueda, from a tea farming family in Shiga prefecture, experiments with firing techniques, utilizing Choseki feldspar blocks and irregular clays in Anagama Kilns. Machiko Ogawa blends African and French ceramic techniques into her work, crafting pieces reminiscent of volcanic rock or ice. These Japanese ceramic artists are all unique in their styles yet take the Japanese tradition of innovative pottery with them.

https://artdesignasia.com/10-famous-japanese-ceramic-artists-you-should-know/

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“Drinking Tea” 2009, hand-painted porcelain cans

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That brings us to the 21st Century in Chinese Ceramics.

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That brings us to the 21st Century in Chinese Ceramics.

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Artists like Lei Xue, Ai Weiwei, and Hui Ka Kwong are indeed continuing the Chinese tradition of pottery-making while infusing it with their own modern interpretations. Lei Xue, for example, combines traditional techniques with contemporary concepts, creating porcelain sculptures that explore themes of consumerism and cultural identity. Similarly, Ai Weiwei's ceramic artworks often challenge political and social norms, pushing the boundaries of traditional pottery with his provocative installations and sculptures. Hui Ka Kwong blends traditional Chinese pottery techniques with modern aesthetics, creating innovative pieces that reflect his unique artistic vision. Together, these artists contribute to the evolution of Chinese pottery, bridging the gap between tradition and contemporary artistry.

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A blue and white ’scholars’ garlic neck vase, Transitional period, 17th century.

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1620–1683: The Ming to Qing Transitional Period produced Blue and White Wares

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1620–1683: The Ming to Qing Transitional Period produced Blue and White Wares

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During the Tang and Yuan dynasties, Jesuit priests commissioned the first porcelain pieces for the European market. The Yuan dynasty produced highly admired Doucai porcelain, collected by the Imperial court. As the dynasty progressed, painting quality declined, leading to mass export shipments to Europe, notably of 'Kraak' porcelain. In the Transitional Period (mid-17th century), characterized by dynastic instability, porcelain demand shifted from the Imperial court to scholars, dignitaries, and regional rulers. This era saw an increase in depictions of scholars, figures, and landscapes on porcelain, catering to both domestic and export markets.

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Jingdezhen is a city in Jiangxi province in southern China, located on the south bank of the Chang River. It may have produced pottery as early as the sixth century CE, but it became a major kiln site around 1004 during the reign of Emperor Zhenzong.

Today Jingdezhen still produces ceramics and is the home of The Jingdezhen Ceramics Museum for Chinese ceramics. It was prepared in 1979 and opened to the public on October 1, 1984. The museum covers an area of 830,000 square meters.

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Translated Vase (TVW1),
Translated Vase (TVW1), 2015, ceramic shards, epoxy, 24k gold leaf, 65 x 43 x 43 inches

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Modern Korean Ceramic artists, including Yeesookyung, redefine ceramics with bold sculptures blending ceramic shards, epoxy, and gold leaf. Her innovative approach challenges tradition, inviting viewers to explore new possibilities. With a dynamic style, Yeesookyung's work captivates audiences, reflecting her distinct artistic vision. Lee Kang-hyo, known for his mastery of traditional Onggi pottery techniques, infuses his works with contemporary interpretations, blending heritage with innovation.

Young Sook Park and Dae-Sup Kwon are celebrated for their intricate porcelain creations, showcasing delicate craftsmanship and artistic expression.

Seung ah Lee and Yongsun Jang explore diverse ceramic forms, pushing boundaries with experimental techniques and bold artistic visions.

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Late Yayoi period Japanese with fish decoration, 3rd–4th centuries Earthenware. 33.0 cm., diam. 28.0 cm. (13 x 11 in.)y1985-8

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300 BCE–300 CE Yayoi period:  People from the Asian continent started migrating to Japan

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300 BCE–300 CE Yayoi period:  People from the Asian continent started migrating to Japan

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In the Yayoi period, around 300 B.C.E., pottery evolved significantly from its Jōmon predecessor, reflecting broader cultural and technological shifts in Japan. Yayoi pottery, discovered in Tokyo's Yayoi neighborhood, showcased cleaner shapes and smoother surfaces compared to the cord-marked ceramics of the Jōmon era. Yayoi ceramics, often unglazed but sometimes slip-covered, featured burnished surfaces and symmetrical forms, highlighting a shift towards more utilitarian and ritualistic uses. These changes in pottery style and technique, including coil building and decorative incising, set the stage for further developments in the subsequent Kofun period.

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Ai Weiwei, Han Jar Overpainted with Coca-Cola Logo, 1995, earthenware, paint, 25.1 × 27.9 × 27. 9 cm, © Ai Weiwei (image: Steven Zucker, CC BY-NC-SA 4.0)

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1995, Han Jar Overpainted with Coca-Cola Logo

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1995, Han Jar Overpainted with Coca-Cola Logo

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TITLE: Cock, MEDIUM: Gray clay with three-color (sancai) glaze, DIMENSIONS h. 9.0 cm., w. 8.0 cm., d. 3.9 cm. (3 9/16 x 3 1/8 x 1 1/2 in.)

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Artisans used various techniques to decorate their porcelain objects, such as applying brightly colored glazes and painted pigments. A unique method of decoration called "three-colors" (sancai) glaze was used, which involved lead glazes of different hues, including predominantly green, amber, and cream, but also cobalt blue, yellow, brown, and black. These glazes were used to embellish figures and vessels, giving them a distinct and colorful appearance.

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1573-1620 Ming  Dynasty: The Colorful Wucai, or five-colored ware, was developed during this period.

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1573-1620 Ming  Dynasty: The Colorful Wucai, or five-colored ware, was developed during this period.

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Wucai, or "five enamel" vessels, are a type of Chinese porcelain that first appeared during the Ming dynasty's reign of Emperor Jiajing (1521–1567). Wucai are often colorful, with wider areas of blue design that are often painted freely. They are distinguished from doucai, which uses white and blue as the main frame, and other colors to fill in blank areas.

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1368-1644 Ming Dynasty: Established the official kiln in Jingdezhen in 1369

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1368-1644 Ming Dynasty: Established the official kiln in Jingdezhen in 1369

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Work for the official kilns was increased in 1433 when the Ming court ordered 443,500 pieces of porcelain for the imperial household.

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1392–1910 CE: The Joseon period produces porcelains and buncheong stonewares. 

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1392–1910 CE: The Joseon period produces porcelains and buncheong stonewares. 

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1392–1910 CE: Korean, Joseon dynasty. Korean potters began experimenting with underglaze iron pigment on porcelain. Ceramic ware was considered the highest quality achievement from kilns. The Joseon white porcelain, also known as the moon jar, is adopted as imperial ware in the 15th century.

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Jar with geometric décor, 5th–6th century. Three Kingdoms (Silla) period, 57 BCE–668 CE. Korean Light gray stoneware with combed decoration and natural ash glaze

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57 BCE – 935 CE: Three Kingdom (Silla) period

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57 BCE – 935 CE: Three Kingdom (Silla) period

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668–935 CE, Buddhism influenced Korean pottery. Urns for ashes were made, and Buddhist motifs like lotus buds and clouds were used as decoration.

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Murakami’s version of the Lidded jar with design of a lotus pond from the collection of the Asian Art Museum

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Takashi Murakami’s love of ceramics led him to begin translating their designs into paintings, beginning with his monumental blue and white Qinghua series. Inspired to paint the Asia Art Museum's lidded jar, curator Laura Allen brought photos of the artwork to his studio in 2019. Through his modern interpretations, he bridges the gap between past and present, igniting a renewed appreciation for the artistry of yesteryears among contemporary enthusiasts.

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Ming Dynasty vases embody timeless artistry, influencing and enriching contemporary artistic landscapes and narratives.

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This festive wine jar exemplifies the most advanced techniques of the Ming dynasty's porcelain. The production of wucai, or ‘five enamel’ vessels, reached new heights in both quality and quantity. Before the reign of the Jiajing emperor, Imperial kilns primarily produced small objects suitable for handling. But in the Jiajing reign, porcelain began to be produced on a larger scale.

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1592 - 1598: Japanese warlord Toyotomi Hideyoshi invaded Korea.

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1592 - 1598: Japanese warlord Toyotomi Hideyoshi invaded Korea.

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In 1592, Japanese warlord Toyotomi Hideyoshi invaded Korea with the intention of conquering Joseon Korea and eventually Ming China. During the invasion, which lasted until 1598, many Korean potters and blacksmiths were forcibly taken to Japan. The potters took with them new pottery styles and technology.

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1600: Korean potters introduce new kiln technology

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1600: Korean potters introduce new kiln technology

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Korean potters introduced new kiln technology, including a multi-chamber climbing kiln.

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Vase, 10th–14th century. Goryeo dynasty, 918–1392 Korean Ceramic with incised floral decoration under celadon glaze

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918–1392 CE, celadon was popularized through contact with the Chinese Song Dynasty. Celadon is a type of ceramic glaze with a green hue used on stoneware and ceramicware. The Chinese called the color "mi se," which means "mysterious color."

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Title: Vase

Period: Edo period (1615–1868)

Date: 1800

Culture: Japan

Medium: Porcelain enameled in colors and gold (Kyoto ware)

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Kaolin, the clay needed to make porcelain, was first discovered in Arita, Japan, in the early 1600s. They were using techniques from Korean potters. The wares were called Imari ware, named after the port from which they were shipped. Porcelain allowed for more substantial and more durable yet thinner vessels. This was several hundred years after it had first been made in China during The Tang Dynasty.

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600 CE - China: First know use of Porcelain 

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600 CE - China: First know use of Porcelain 

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Porcelain was first made in a primitive form during the Tang dynasty (618–907). The form best known in the West was made during the Yuan dynasty (1279–1368). This hard-paste porcelain was made from petuntse, or china stone, ground to powder and mixed with kaolin.

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Scholars debate whether the ancient Sumerians, Europeans, Chinese, or Egyptians invented the first potter's wheel. Some believe the ancient Mesopotamian people invented the wheel around 4200–4000 BC, and that it was likely also invented independently in China around 2800 BC. 

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縄文 火焔土器Title: “Flame-rimmed” deep bowl (kaen doki)Period: Middle Jomon period (ca. 3500–2500 BCE)Culture: Japan. Medium: Earthenware with cord-marked and 

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10,500 BCE - 300 BCE- Jōmon Period: First known pottery found in Japan

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10,500 BCE - 300 BCE- Jōmon Period: First known pottery found in Japan

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"Jōmon pottery vessels are the oldest in the world. They are characterized by their decoration from impressions, which resemble rope. The word Jōmon means “cord markings” or “patterns”. These pots were fired outdoors in bonfires or ditches. These types of sturdy pots were conducive to the hunter-gatherer life system of the people in this region at the time. The pots were most likely used for boiling food, including plants, nuts, fish, and meat.

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4000 BCE The beginning of Korean Pottery

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4000 BCE The beginning of Korean Pottery

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Pottery dating back to 4000 BCE, characterized by combed patterns and grooves, marks the inception of Korea's indigenous art

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Korean Ceramics - Embedded Content - Films On Demand