History of Choseon Dynasty

During the early Choson period, in the 15th and l6th centuries,punch'ong ware and porcelain comprised the mainstream ceramic production.Pungch'ong-sagi is a term coined by Ko Yu-sop(1905-44), the first Korean art historian, and refers to a particular type of ceramic ware decorated with awhite slip coating under the glaze. Punch'ong ware can be classified into seven different categories according to the method of surface decoration. They include inlaid, stamped,incised, carved, iron-painted, and brushed white slip as well as white-coated wares. Unlike Choson porcelain, punch'ong was produced over a limited period, namely between the end of the Koryo dynasty to the mid- I 6th century.
As a result of the political upheavals toward the end of the Koryo dynasty, the Koryo celadon kilns concentrated in the Cholla province were destroyed and the potters were forced to disperse. These potters then continuedto produce wares based on the celadon tradition, which gradually transformed into a new ceramic ware. Excavations of old kiln sites have located about 220 punch'ong kilns throughout South Korea. Two of the most representative punch'ong kiln sites are the Ch'unghyo-dong kiln site in Kwangju, South Cholla province and the Kyeryongsan kiln site in Kongju, South Ch'ungch'ong province.
Early punch'ong ware continues the Koryo celadon tradition in itssurface decoration. Some of the most frequently applied motifs include lotus, chrysanthemum, and arabesque patterns.
Punch'ong ware matured stylistically during the reign of King Sejong (r.141850). This was a period of overall cultural and social development, which naturally had an effect on the production of ceramics. hi 1421, the court ordered potters to inscribe their names on punch'ong wares, and between 1424 and 1432, investigations of kilns were carried out as a part of the publication of Chiriji, a geographical section within the Annals of Sejong. The majority ofpunch'ong types produced during this period comprised the inlaid and stamped punch'ong, as well as punch'ong with the design incised or cut through white slip.



During the early Choson period, in the 15th and l6th centuries,punch'ong ware and porcelain comprised the mainstream ceramic production.Pungch'ong-sagi is a term coined by Ko Yu-sop(1905-44), the first Korean art historian, and refers to a particular type of ceramic ware decorated with awhite slip coating under the glaze. Punch'ong ware can be classified into seven different categories according to the method of surface decoration. They include inlaid, stamped,incised, carved, iron-painted, and brushed white slip as well as white-coated wares. Unlike Choson porcelain, punch'ong was produced over a limited period, namely between the end of the Koryo dynasty to the mid- I 6th century. As a result of the political upheavals toward the end of the Koryo dynasty, the Koryo celadon kilns concentrated in the Cholla province were destroyed and the potters were forced to disperse. These potters then continuedto produce wares based on the celadon tradition, which gradually transformed into a new ceramic ware. Excavations of old kiln sites have located about 220 punch'ong kilns throughout South Korea. Two of the most representative punch'ong kiln sites are the Ch'unghyo-dong kiln site in Kwangju, South Cholla province and the Kyeryongsan kiln site in Kongju, South Ch'ungch'ong province. Early punch'ong ware continues the Koryo celadon tradition in itssurface decoration. Some of the most frequently applied motifs include lotus, chrysanthemum, and arabesque patterns. Punch'ong ware matured stylistically during the reign of King Sejong (r.141850). This was a period of overall cultural and social development, which naturally had an effect on the production of ceramics. hi 1421, the court ordered potters to inscribe their names on punch'ong wares, and between 1424 and 1432, investigations of kilns were carried out as a part of the publication of Chiriji, a geographical section within the Annals of Sejong. The majority ofpunch'ong types produced during this period comprised the inlaid and stamped punch'ong, as well as punch'ong with the design incised or cut through white slip.
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