After strolling through the South Asian section, I came across the East Asian section of the museum. I was instantly greeted by the light turquoise colors of the Korean Celadon. This signified to me that I was at the East Asian section of the museum. I've only ever recognized Korean Celadon from the textbooks; essentially they are vases and eating ornaments that are crafted in such a way that they give off a light jade green glaze. Obviously, the technique to produce celadon originated in China, but the Koreans were the ones to really proliferate the usage of the unique pottery technique. Especially considering the time period, the only significant celadon production during the the 3rd century AD occurred in Korea. Even though Korea produced other forms of celadon, such examples were not on display at the first part of the exihibit. There are two striking characteristic of these Korean celadon. First is the amazing consistency in color, reflectiveness and the overall smoothness of the porcelain. The second is the remarkable condition in which it was presented. These pottery appeared to be extraordinarily well preserved. When confronted with these realizations, I come to better appreciate the qualities of the pottery.
Chinese section:
These are some of the most iconic bronze ware of the early Shang/Zhou Dynasty of China. Preceding even Buddhism, the ability to craft these fine wares using primitive molds was a major Chinese artistic innovation. In fact, these artifacts represent the first implementation of aesthetics into everyday items. There is a sense of style that is incorporated into these designs. With the usage of Bronze, these forms also carry a new permanence and wear resistance. In fact, the cup in the middle would serve as template for future Chinese cups in future dynasties. The greenish tint on these bronze wares illustrate the relative age versus the Buddhist sculptures. However, different manufacturing techniques may also make a difference. Bronze production was not controlled, thus may lead to impurities that affect the coloring process. Overall, in the context, these are very significant contributions to art and material engineering.
These clay/earthen models give incredible insight into the relative shape and structure of ancient Chinese dwellings. While the cutout of a house doesn't reveal too much, the white model on the right hand side tells us that Chinese houses are probably rectangular, with simple accented gable roofs. There are cutouts on the upper floor to serve as windows. This model shows us that ancient Chinese buildings aren't too different from the replicas that exist today. What's interesting about this depiction is that it was an approximate white depiction of houses. To create miniature models of houses in any ancient society is rare because these little models don't serve a functional purpose. Perhaps to enhance its aesthetics, the white house model on the right was painted white to blend in with the other ornaments in an home. These were not used as architectural models either; ancient Chinese architects did not use scale models. The models are too informal to serve as a building guide. It can also be speculated that these houses serve as relics of destroyed buildings. Most ancient Chinese buildings are wood-based which meant that constant warfare and fires can often obliterate entire sections of cities. Which is also why China's ancient architectural profile are dominated by places commissioned by the government or religious orders.
One of the most enduring characteristics of Chinese porcelain is the blue and white lacquer that was responsible for drawing European interest. This one in particular is not only well preserved, but it is also remarkably round and detailed. The circular shape is unique amongst Chinese porcelain. the side hands appear to be similar to the handles on Greek Amphoras. It can be surmised that this may be a wine container because the head is narrow. It may also not be a wine container; it could be just a display item to decorate homes. The shine on this lacquer is also exemplary, showing no signs of grime and dust. I was delighted to observe this fine piece of Chinese craftsmanship.
This may appear to be some sort of container, or treasure box to the uninformed eye, but this is actually an intricately designed pillow. Now though, these pillows aren't stuffed with cotton, instead this pillow is made of a type of hardened clay. What I liked about this pillow was the green colorings on the pillow patterns. Especially in contrast to all the beige, white items surrounding this pillow, the color used makes it stand out. While I have a hard time imagining sleeping on these, these probably served as status symbols for the ancient Chinese aristocracy.
Overall, I was surprised by the monotony in the Chinese and Korean section. Much like the Southeast/South Asian section of the Museum, the Chinese and Korean section focused nearly exclusively on pottery and everyday items. There little tapestry, clothing, painting and other forms of art. Even still, the bright color and exquisite detail panders to the technical excellence of Chinese and Korean Art.
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