blue, and gray, the color of celadon is its de昀椀ning feature, typically came from kilns in Chungcheong Province, so much so that it is called cheongja, or green ware, though a rare example from a kiln in South Jeolla Province in Korean. The English designation “celadon” is likely is now in The Met collection (昀椀g. 13). The only two other derived from the name of a character in a seventeenth- known examples of intact bottles with this design of a century French pastoral comedy who wore a green robe. 昀氀owering plant from that Jeolla kiln are in the collections Since the time of their production, these artworks have of the Museum of Oriental Ceramics, Osaka, and the been coveted for their unique hue, surface decoration, Leeum Museum of Art, Seoul. An increase in the popular- and organic forms (昀椀gs. 10–12). ity of porcelain, along with the destructive invasions of In response to changes in patronage and political Joseon Korea by Momoyama Japan, in 1592 and 1598, led and socioeconomic conditions during the transition to to the extinction of buncheong ware. When the ceramic the Joseon dynasty (1392–1910), a new type of ceramic industries were rebuilt in the seventeenth century, only adapting the techniques of celadon organically emerged porcelain was produced, and, until the twentieth century, in the 昀椀昀琀eenth and sixteenth centuries. Now referred buncheong all but disappeared from the Korean penin- to as buncheong, a term coined in the 1930s, these sula. Incidentally, a parallel history of buncheong took gray- hued ceramics have coarser bodies decorated shape in Japan, initially through Joseon exports and then with white slip and looser, more expressive motifs.�� through the descendants of Korean ceramists who had Unlike celadon and porcelain, buncheong ware exhibits been forcibly removed to Japan at the time of the dis tinctive regional characteristics. Kilns in Gyeongsang invasions, and through Japanese potters who had learned Province produced buncheong with well- de昀椀ned inlaid or the technique. stamped patterns (see 昀椀g. 2). Buncheong from Jeolla If green celadon is synonymous with the Goryeo Province were generally decorated with freely executed dynasty, then white porcelain is the ceramic of the incised or sgra昀케to designs. Iron- painted buncheong Joseon dynasty. Unlike that of buncheong, the production Fig. 10. Bowl with two boys and lotuses, Goryeo dynasty (918–1392), early 12th century. Stoneware with mold- impressed design under celadon glaze, Diam. 73/4 in. (19.7 cm). The Metropolitan Museum of Art, New York, Gi昀琀 of Sadajiro Yamanaka, 1911 (11.8.6) Fig. 11. Gourd- shaped ewer with waterfowl and reeds, Goryeo dynasty (918–1392), early 12th century. Stoneware with carved and incised design under celadon glaze, H. 101/2 in. (26.7 cm). The Metropolitan Museum of Art, New York, Fletcher Fund, 1927 (27.119.2) 10