Celadon - The Choice of Kings
The delicate lacework of fine cracks inherent in the mysterious blue green "bi-saek" glaze, the harmony of the form derived from the natural world and the rich symbolism portrayed in many of the pieces set an elegant trap, one which draws the beholder into a world far removed from today.
The quietness and subtlety of Korean celadon pottery is said to show the quintessence of the Oriental spirit. Its subdued elegance, simplicity of form and style of make have been compared with the profound and exalted spirit of Zen Buddhism.
Korea first started producing celadon just before the beginning of the Koryo era (918-1392) after the earthenware was introduced from neighbouring China. By this time Korean artisans had already perfected the method of firing at high temperatures that celadon requires and so Korean celadon quickly overtook its Chinese counterpart both in quality of production and in aesthetics.
Much of this subsequent growth of celadon as an art form can be linked to the increasing influence that Buddhism had over the Korean culture during the Koryo Dynasty. The dedication to harmony and connectedness with nature defined the aesthetic and symbolic evolution of celadon while Buddhism's numerous rituals demanded artisans to produce exquisitely fine vessels. Such was the exacting demand for quality that only in piece in ten made it out of the workshops.
By the middle of the twelfth century firing and glazing and techniques had developed so dramatically that celadon had become the pottery of choice, both functional and decorative, for royalty and aristocracy.
The final chapter in the development of celadon came during the reign of King Uijong (1147-1170). During this time the unprecedented technique of incising "sang-gam" was invented.
By filling incisions or inlays in the pottery with black and white clays and by utilising new methods for glazing with copper oxide potters elevated celadon beyond its pure and serene Buddhist fundamentals.
These new techniques allowed the concepts and aspirations of common Koryo people to be depicted on the works and resulted in the establishment of celadon as an artefact of the nation at large.
The production of celadon all but disappeared with the Mongol invasions that began in 1231. The demise of the Koryo culture was so dramatic that by the time of the beginning of the Chosun Dynasty (1392-1910) most of the traditional manufacturing techniques had been lost.
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