Produced during Koreas Joseon Dynasty (1392-1897), its last and longest dynasty, Joseon porcelain reflects Confucian values in its simplicity and elegance. Over more than five centuries, its development evolved from Buncheong Ware (grey stoneware) to refined white porcelain. With ceramics playing a significant role in Joseon society, particularly for its aristocracy, its production reflects key events such as war and the rise of new leadership.The Joseon DynastyGyeongbokgung Palace, Seoul, built 1395, photo by Konrad Ziemlewski. Source: UnsplashKoreas Joseon Dynasty was its longest-lasting imperial dynasty, spanning from 1392 to 1910. It is also remembered as a significant period of development for Korea as a nation. It saw the invention of the Korean phonetic alphabet (Hangul), Japanese and Manchurian invasions, and the rise of an aristocratic scholar class (yangban). There was a significant degree of technological advancement, particularly in medicine, science, and astronomy. The dominating Yi family drew much influence from their relationship with China, including a similar bureaucratic style and an emphasis on Confucian ethics in society.Culture and art also flourished during this time, particularly artistic styles that differentiated Korea from its other Asian neighbors. Folk painting (minhwa) developed, as did scholarly painting based on Confucianism. Screen paintings sat in the homes of those in power, depicting specifically Korean motifs such as peonies. The creation of ceramics also underwent vast changes, ultimately leading to the invention and popularization of white wares.Buncheong WareLidded Placenta Jar with Floral Motif and Cover with Lotus Petal Motif of Prince Gyeyang (1427-1464), 1439, Buncheong with stamped design. Source: Denver Art MuseumFor the first 200 years of the Joseon Dynasty, buncheong wares were the dominant ceramic. They are defined by their grey body, embellished with a white slip and green-tinted glaze. They were preceded by the famed celadon ceramics of the Goryeo Dynasty, defined by their similar green-grey hues. They also have regional characteristics, with some having incised designs or iron-painted decorations.The majority of these wares were produced for use in government bureaus and courts, and their production occurred in a singular area (bunwon) just outside of todays Seoul. By the 16th century, however, demand expanded beyond the Joseon elite, and production was decentralized, with kilns springing up all over Korea. It was at this time that these kilns began to cater to the rising popularity of porcelain.Invasion by JapanDefence of Busanjin Fortress, 18th century. Source: Wikimedia CommonsBetween 1592 and 1598, Japan invaded Korea in what is known as the Imjin Wars. Toyotomi Hideyoshi, Japans military leader, desired an empire and had long-standing plans to leverage the Korean peninsula as an entry point into China. The impact of the war was devastating. The arts, economy, and society of Korea were transformed. Large regions were left in ruins, which caused food shortages and famine.Much of Koreas cultural heritage was also lost, including that of the kilns producing its popular ceramics. Hideyoshi had a particular affinity for these ceramics, and thus, skilled pottery families were forcibly emigrated to Japan. They were forced to follow strict rules while residing there, including restrictions on whom they could marry and where they could go. As a result, the ceramics industry of Joseon Korea was decimated. By the 17th century, it was unable to keep up with the demand for white porcelain, and grey clay was used as a substitute. Most porcelain was undecorated as acquiring the sought-after blue pigment was costly.And yet, there was some hope in the aftermath of war. There was a cultural resurgence in which national pride became a central theme in the arts. Landscapes and scenes of Korea were particularly popular in painting, though the ceramic industry took some time to rebuild. This rise of nationalism laid the groundwork for a more distinct Korean cultural identity.The Rise of White PorcelainBrush Holder with Lotus Decoration, mid-19th century, Porcelain. Source: The Metropolitan Museum of ArtThough white porcelain, baekja, can be traced back to the Goryeo Dynasty (935-1392), its production came into its own in the late 15th century. Early in the Joseon Dynasty, King Sejong (1397-1450) issued an edict stating that the expensive silver dishware commonly used in court be replaced with white porcelain. It quickly became the pottery of choice at the Joseon court, and royal kilns were constructed near the capital Hanyang, todays Seoul, in Gwangju, which had plentiful amounts of firewood and clay.Aesthetically, it represented the dominant Confucian values of the time, emphasizing simplicity and discipline. This focus on restraint marked a change from the extravagance of the previous Goryeo Dynasty (918-1392). Rituals were performed with a sense of consistency, repeatedly using the same white porcelain pieces.Blue Underglaze and Iron PigmentJar with Dragon Design, 1700s, Porcelain. Source: The Cleveland Museum of ArtInspired by Chinese styles, pieces with a cobalt blue underglaze were used in various royal family ceremonies and state functions. The pigment was painted onto objects, creating beautiful designs, from dragons to poems by well-known Confucian scholars. Over the Joseon Period, artisans developed styles distinct from those from China, painting plants, flowers, and animals.However, there was an issue with this much-desired pigment. It was imported from China, which made it expensive and challenging to attain a regular supply. Only members of the royal family could afford such luxuries. Iron oxide was much more affordable, and kilns that were not serving the royals produced such ceramics. These became particularly popular during the Japanese invasion, as they were more accessible for common people.The Iconic Moon JarMoon Jar, 18th century, Porcelain. Source: The Metropolitan Museum of ArtA discussion of Joseon porcelain would be incomplete without a mention of the iconic moon jar. Popularized during the reigns of King Yeongjo and King Jeongjo (1824-1800), a time of cultural flourishing when Korea turned inwards, they epitomize the aesthetics of the period, particularly a focus on revered scholarship. Resembling their namesake, these round, bulbous-shaped objects symbolize prosperity and good fortune.Artisans were able to achieve their bright white color by using a refined white clay lacking iron oxide, which creates a green tint, as seen in Goryeo ceramics. This clay requires a high firing temperature of 1300C, meaning that kilns producing moon jars required huge amounts of firewood. As a result, kilns were moved every ten years due to the rate of resource consumption.The shape itself was made in two separate sections and joined together. Each piece was handmade, resulting in a slightly altered circle shape. This meshed well with the appreciation for the imperfections of nature that came with the dominant Confucian ideology at the time.Kwon Dae Sup Solo Exhibition, 2021, Jonyun Gallery, Seoul. Source: Kiaf SeoulJoseon ceramics are a testament to the artistry and craftsmanship of Koreas longest-ruling dynasty. They teach us much about society and history during this period, particularly the lives of the elites. From early buncheong wares to refined white porcelain, these ceramics reflect the Confucian values predominant in society at the time. Today, these objects continue to be admired and studied.Interest in moon jars in particular is huge today, with such objects being sought out by wealthy and influential collectors. They have also inspired contemporary artists, such as Kwon Dae-sup, who has devoted his career to producing moon jars using traditional methods.