Wine Cup Stand
1150-1200 (made)
Artist/Maker | |
Place of origin |
In many respects ceramics reached their zenith during the four centuries of the Koryo kingdom (918-1392) when porcellanous stonewares with soft, gentle lines and a fine, bluish-green glaze, known as celadon, were made.
With its finely moulded shape and graceful decoration, this cup and stand is a typical example of Koryo celadon wares. It dates to the mid- to late-1100s as suggested by its delicately incised and inlaid sanggam design. The development of sanggam inlay is one of the crucial components of Koryo celadon making. It was an independent achievement by Koryo craftsmen at a time when inlay was not used by Chinese potters, and it has come to represent the elegance and gracefulness of Koryo period art. The inlay technique is believed to have derived from metal and lacquer wares on which it had been used several centuries earlier. The method of inlay is different to that of incised and carved designs. First the motif is carved into the clay body, and the resulting grooves are covered with black or white slip, this being clay thinned with water. Excess slip is scraped off and the piece is biscuit fired, before being glazed and fired again. The ensuing design is clearly visible underneath the thin and highly translucent glaze.
Modelled on Korean and Chinese silver prototypes and during the Koryo period, cups and stands of this type were among the most popular shapes for wine cups. Also the V&A has several in its collection.
With its finely moulded shape and graceful decoration, this cup and stand is a typical example of Koryo celadon wares. It dates to the mid- to late-1100s as suggested by its delicately incised and inlaid sanggam design. The development of sanggam inlay is one of the crucial components of Koryo celadon making. It was an independent achievement by Koryo craftsmen at a time when inlay was not used by Chinese potters, and it has come to represent the elegance and gracefulness of Koryo period art. The inlay technique is believed to have derived from metal and lacquer wares on which it had been used several centuries earlier. The method of inlay is different to that of incised and carved designs. First the motif is carved into the clay body, and the resulting grooves are covered with black or white slip, this being clay thinned with water. Excess slip is scraped off and the piece is biscuit fired, before being glazed and fired again. The ensuing design is clearly visible underneath the thin and highly translucent glaze.
Modelled on Korean and Chinese silver prototypes and during the Koryo period, cups and stands of this type were among the most popular shapes for wine cups. Also the V&A has several in its collection.
Object details
Categories | |
Object type | |
Materials and techniques | Stoneware, thrown, carved, incised and inlaid |
Brief description | Stoneware, celadon galze, inlaid and incised design |
Physical description | The perimeter is grooved; the rim slopes upwards in eight lobes, each bearing an inlaid chrysanthemum head. At the centre is a carved holder designed to accomodate the wine cup. Colour: Greyish green, white and black |
Dimensions |
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Style | |
Credit line | Given by Dr W. M. Tapp |
Subject depicted | |
Summary | In many respects ceramics reached their zenith during the four centuries of the Koryo kingdom (918-1392) when porcellanous stonewares with soft, gentle lines and a fine, bluish-green glaze, known as celadon, were made. With its finely moulded shape and graceful decoration, this cup and stand is a typical example of Koryo celadon wares. It dates to the mid- to late-1100s as suggested by its delicately incised and inlaid sanggam design. The development of sanggam inlay is one of the crucial components of Koryo celadon making. It was an independent achievement by Koryo craftsmen at a time when inlay was not used by Chinese potters, and it has come to represent the elegance and gracefulness of Koryo period art. The inlay technique is believed to have derived from metal and lacquer wares on which it had been used several centuries earlier. The method of inlay is different to that of incised and carved designs. First the motif is carved into the clay body, and the resulting grooves are covered with black or white slip, this being clay thinned with water. Excess slip is scraped off and the piece is biscuit fired, before being glazed and fired again. The ensuing design is clearly visible underneath the thin and highly translucent glaze. Modelled on Korean and Chinese silver prototypes and during the Koryo period, cups and stands of this type were among the most popular shapes for wine cups. Also the V&A has several in its collection. |
Bibliographic references |
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Collection | |
Accession number | C.86A-1930 |
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Record created | February 3, 2000 |
Record URL |
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