CELADON - The Sparkle of East Asian Celadon

Special Exhibition "CELADON - The Brilliance of East Asian Celadon"

April 19th (Saturday) - November 24th (Monday), 2020
The Museum of Oriental Ceramics, Osaka (MOCO)


It is well known that Lu Yu, a writer of the Tang dynasty in his "Cha Jing," praised the celadon produced in Yue kilns as "like jade" and "like ice." Meanwhile, celadon fired during the Goryeo period on the Korean peninsula was called "emerald" because its pale green-blue color resembled jade, and because of its rarity it was valued as superior to gold and silver ware. This variation in names shows that celadon has a multifaceted nature that cannot be described by a single color.

It is sometimes pointed out that "in Japan, when we say celadon, it is not clear whether it refers to green or gray-blue porcelain," but the Chinese word "blue" includes green as well. As the name celadon suggests, its essence is not in the color "blue" itself, but in the glaze with a luster and moisture like jade. For this reason, many expressions likening celadon to hard, lustrous substances such as "ice," "jade," and "jade" have been used to describe it. In fact, it is said that there is no such thing as a blue glaze for ceramics. The glaze is a mixture of yellowish brown and gray, resulting in a blue-green color. Moreover, this color changes in countless ways depending on the firing conditions and the clay, and it is not possible to obtain exactly the same color tone even in the same kiln.

The appeal of this special exhibition is that it allows one to fully experience the characteristics of celadon in East Asia.

I. The origin of the name "celadon" and its acceptance in East Asia

When we think of "celadon," the first thing that comes to mind is the Chinese word "seiji," but in Japan it has traditionally been pronounced "seiji," and in the West it is called "celadon." In China, blue sometimes also implies "green," and in Korea it was called "feish," after the color of jade.

Celadon is not a single color, but has been perceived in various ways depending on the region, such as "blue like jade," "jade green," or "sky blue after rain ." The "Celadon Vase with Carved Peony Arabesque Design" (Yaozhou ware, Northern Song Dynasty) in this exhibition has a color tone close to olive green, while the "Celadon Bowl with Positive Carved Chrysanthemum Design" (Goryeo) is a milky jade color. "The same celadon can have so many different expressions" - this is the true joy of appreciating celadon.

II. Highlights ① National Treasure "Hi Celadon Vase" and the MOCO Celadon Collection

National Treasure "Flying Celadon Flower Vase" (formerly 14th century/Longquan Kiln)
Its well-balanced form, described as the golden ratio, deep emerald-colored glaze, and arrangement of iron specks - its perfection is known worldwide as "the pinnacle of celadon."

Important Cultural Property《Celadon engraved flower peony arabesque pattern bottle》 (Northern Song Dynasty, Yaozhou kiln)
The interweaving of light and shadow created by the transparent glaze and deeply carved patterns demonstrates the pinnacle of Song Dynasty craftsmanship.

Water jug ​​with celadon inlaid child and treasure flower arabesque design (Goryeo)
The black and white inlay patterns stand out against the emerald green glaze, highlighting the adorable statue of the boy.

"The color of the celadon glaze changes in countless ways depending on the amount of iron in the clay, the strength of the reducing flame, and even slight differences in the firing temperature. It is truly the 'art of kiln change,' and is imbued with the prayers of the potter who faces the uncontrollable forces of nature."

III. Must-see spot ② Goryeo celadon "Emerald-colored porcelain"

During the Goryeo period (10th-14th centuries), while learning the techniques of Chinese celadon, they also pursued their own unique jade color. Article B states that "jade color was more highly valued than gold and silverware," and introduces the historical fact that the Goryeo dynasty used celadon as a gift more than Chinese goods .

This exhibition will feature the following masterpieces:

the work Era/Kiln Features
Celadon bowl with carved chrysanthemum motif Goryeo, 12th century A neat five-petal flower shape and pale emerald color
Celadon gourd-shaped bottle Goryeo, early 12th century The graceful curves of the melon body and lily-shaped mouth
Celadon sculpture of a water drop in the shape of a young girl/a water drop in the shape of a young boy Goryeo, 12th century Adorable stationery "reunited" in Osaka after 800 years

Ⅳ． Highlight 3: The reception and creation of celadon in Japan

"In Japan, Chinese celadon was highly valued as 'Karamono' (Chinese goods) during the Kamakura and Muromachi periods, and domestic celadon was produced in Arita and other areas during the Edo period. In particular, the Nabeshima clan kilns pioneered new ground in celadon blue and white porcelain as gifts to the shogun family, and from the Meiji period onwards, Itaya Hazan and others combined the transparency of celadon with the 'tranquility of white porcelain.'"

The third part of the exhibition, "Celadon Vein," will trace the "ideal blue" that Japanese people have entrusted to celadon porcelain through the Nabeshima Domain Kiln's Celadon Blue and White Dish with a Treasure Pattern and Wave Pattern, as well as challenging works by modern and contemporary artists.

V. Exhibition composition and related programs

Part 1: "Celadon Treasures" - 10 pieces of celadon that are national treasures from China and Korea

Part 2: "Emerald Celadon I & II" - The Sparkle of Goryeo Celadon

Part 3: "Celadon Vein" - From the Edo Period to the Present, Japanese Celadon

Part 4: "Blue and green like jade" - Chinese celadon from Yue kiln to Longquan kiln

Ⅵ. Visitor Information

Session period : April 19th (Sat) - November 24th (Monday), 2020

Opening hours: 9:30–17:00 (entry until 16:30)

Closed on Mondays and other days. *Open on public holidays and closed the following weekday.

Admission fee: 2,000 yen for adults, 800 yen for high school and university students (free for junior high school students and younger, those aged 65 and over in Osaka City, etc.)

Venue: The Museum of Oriental Ceramics, Osaka (1-1-26 Nakanoshima, Kita-ku, Osaka)


Conclusion

This special exhibition is not just an opportunity to appreciate masterpieces, but also a great opportunity to experience celadon as a crossroads of East Asian aesthetics. The nuances of color, the intricacy of form, and the techniques and spirit that have been passed down through time and space - all of these shine quietly in the exhibition room.

The appeal of celadon lies not only in the color of the glaze, but also in the variety of vessel shapes and decorative techniques. At the Yaozhou kilns of the Northern Song Dynasty in China, the engraving technique was developed, in which patterns were carved with a sharp chisel and the light and dark shades of the glaze accentuated. In the Goryeo Dynasty, the inlay technique was developed, in which patterns made of inlaid white and black clay stood out against the emerald-colored glaze. Meanwhile, celadon from the Longquan kilns of the Southern Song Dynasty not only has a deep blue color called "blue after rain" brought about by a thick layer of glaze, but also crazing caused by the difference in shrinkage between the clay and the piece. When light is shone through the piece, countless cracks run like a network, revealing a misty landscape trapped inside the jade.

Celadon is thought to have been introduced to Japan as far back as the Nara period, but it was during the Kamakura and Muromachi periods that it began to be highly valued. Zen monks and samurai families admired celadon from the Southern Song Dynasty of China as "Chinese goods," and its value reached its peak with the establishment of the tea ceremony. In the Edo period, domestic celadon was attempted, mainly in Arita ware, and the Hizen Nabeshima clan kiln opened up new territory with the blue and white porcelain for presentation to the Shogun family. Furthermore, in modern times, potters such as Itaya Hazan, based on research and scientific analysis of ancient Oriental ceramics, sought new forms of expression that combined the serenity of white porcelain with the richness of celadon. Today, contemporary potters around the world compete on the theme of Celadon because its profound color tones and historical narrative are a never-ending source of inspiration.

In this way, Chinese, Korean and Japanese celadon have developed while influencing each other across regions and eras. Although the chemical mechanisms of the glazes are the same, the aesthetic sense and technical ingenuity embodied in them vary greatly.

Suwa Sozan – High-end pottery specialty store [Amagi-michi]

Masao Tagai – High-end pottery specialty store [Amagi-do]

Flower vase celadon (shinogi) by Takahashi Michihachi – High-end pottery specialty store [Amagi-do]

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