This exhibition took place in Summer 2022
Only around 30 original Joseon moon jars are known to exist in the world, named for their characteristic, milky-white porcelain and resemblance to a full moon, the style emerged during the Joseon Dynasty in Korea, reaching a peak in the 18th century.
Their distinctive form is unique to Korea and no two are exactly alike in either colour or shape unlike the more standardised vase shapes found in traditional Chinese or Japanese ceramics.
There is a definite asymmetry and irregularity in their appearance, often appearing slightly lopsided or dented. Slight bumps and subtle horizontal lines give a sense of rotation and the subtle gleam as the glaze catches the light is like staring at a full moon. They are minimal, tranquil, atmospheric and contemplative.
Their large size necessitated a production process where the jar is made in two halves that are then joined together. The seam is rubbed down but remains visible and fine cracks can often appear where the two halves join. These minor flaws didn’t concern Korean potters and this slightly imperfect, slightly austere and handmade quality help to give moon jars a personality not always found in more perfect works. The exceptional craftsmanship of the 18th century artisans made light of this ‘less than refined’ approach and produced singular works of art.
Confucianism was firmly established in Korea by the time of the Joseon Dynasty and for scholars of the time moon jars embodied the Confucian ideals of simplicity and purity. But, it is only an apparent simplicity that underplays both the technical difficulties in making a moon jar and it’s complex and very textured role in Korean culture.
The technical difficulty comes from the fact that the clay used in moon jars is delicate and soft, not easy to shape and requires moisture throughout the shaping process. Without enough water, it can quickly dry out and if you add too much water it can easily lose its shape and collapse. Given that circular forms don’t taper at the top, unlike normal jars, the circular shape can’t support the weight of the wet clay and so it easily collapses. To counter this two separate halves are thrown and then joined together by a seam at the middle. Achieving perfect symmetry is hard and the seams are vulnerable to breakage when firing – only 10% survive the firing process.
The type of clay used is kaolin, also called china clay, a soft white clay that, once refined, is an essential ingredient in the manufacture of china and porcelain. Kaolin is named after the hill in China (Kao-ling) from which it was mined for centuries. Kaolin contains less iron compared to other clays which allows for the white colour but requires firing at a higher temperature, so once glazed, and the luminous, plain white glaze is one of most difficult to execute, moon jars are fired in a kiln at around 1300°C. The final uncertainty is that during the firing process the ash may add a slight green or peach coloured tinge.
In 1935 Bernard Leach, a British studio potter and art teacher (the “Father of British studio pottery”) admired Korean pots for their natural simplicity and bought a moon jar in Seoul, shipping it back to the UK in a consignment of ‘old Korean Pots.’ His description for customs was a ‘very large white jar’ (18 ½ inches tall and 56 inches in circumference) with a value of 10 yen. He asked Lucie Rie, an Austrian born British potter and friend, to look after the jar for him which she did for some fifty years, before bequeathing it to Leach’s widow, Janet. In 1998, it was acquired by the British Museum – “Leach’s acquisition of this masterpiece is significant, for behind the apparent simplicity of colour and form lies a complex philosophy and iconography deeply rooted in Korea’s culture.” It’s accessibility in the British Museum has inspired contemporary ceramic artists in the United Kingdom – notably Akiko Hirai and Adam Buick.
