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A Korean storage jar | Joseon dynasty, 18th century

The Property of a Lady

A Korean storage jar | Joseon dynasty, 18th century

A Korean storage jar | Joseon dynasty, 18th century

A Korean storage jar 

Joseon dynasty, 18th century

the well-potted oviform vase tapering to the raised ring foot and with slightly everted rim, decorated overall in a finely crackled white glaze

34 cm., 13⅜ in. high

Overall there is fine crackle glaze with small firing blemishes, as can be seen in the images there is a large firing blemish to one side.

Please note that Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.

The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Kim Whanki (1913-1974) and thence by descent.

The international and lasting appeal of Kim Whanki’s (1913-1974) art arguably stems from the unique blend of Eastern and Western aesthetics found in his works. Moving to Japan in 1931, Kim seriously engaged with European modernism when he entered the Tokyo School of Fine Arts in 1933. Kim soon incorporated elements of the artists that he admired, such as Paul Klee (1879-1940), Henri Matisse (1869-1954) and George Braque (1882-1963), in with more traditional East Asian motifs. He later became a lecturer back in Korea at the Seoul University from 1946-1968 and worked as a professor at Hong-Ik University between 1953-1955 and 1959-1962. Throughout his artistic career, Kim grew steadily towards abstraction, which came into maturity with his experiments in New York during the 1960s and early 1970s. In 1975, the National Museum of Contemporary Art, Seoul, held a retrospective of his work. 

Kim is also known to have popularised the term ‘moon jar’ in reference to the type of globular, white glazed storage jar here in this Lot. Although the firing of these wares occurred throughout the late Joseon dynasty (1392-1910), the poetic allusion to the full moon is said to have arose much later, and were prior often known in the early twentieth century by their Japanese name, maru tsubo [lit. round jars]. The interest shared by Kim and his close friend, Choi Sun-u (1916-1984), a former director of the National Museum of Korea, gave way to a change in the appreciation and viewing of these jars. Glazed white porcelain ‘moon’ jars appear in Kim’s paintings from the 1950s, often paired with a full moon rendered in blue, and Choi also used the term in print in 1963, arguably assisting in the popular appreciation of these wares. Inextricably linked to traditional Korean pottery, Kim noticed something of the avant-garde and contemporary in the potting of the tapering narrow foot and compared Joseon dynasty white porcelain more generally to the architecture and forms of Le Corbusier (1887-1965).

For another example of an eighteenth century moon jar in the collection of The British Museum, museum number 1999,0302.1, go to:

The images of Kim Whanki and his family for reference only, original photos not sold with the Lot.