Punch’ong Ware / Korai Chawan
粉青沙器 / 高麗茶碗
Ido Tea Bowl
Ido tea bowls are a category of Korean tea bowls (Korai chawan). Based on differences in form and workmanship, they are classified into such groups as O‑Ido (large Ido), Ko‑Ido (small Ido), Ao‑Ido (blue‑tinged Ido), and Ko‑Kannyu (fine‑crackle Ido). A broader group of Korean bowls that approximate the Ido type are collectively referred to as Ido‑waki (“Ido‑adjacent”). The origin of the name “Ido” is uncertain, with various theories involving personal names or place names, but—as with other Korean tea bowls—no definitive explanation exists. Their notable features include a large, full‑bodied bowl form with a swelling waist; pronounced wheel‑throwing rings around the body; a deep interior; spur marks left to prevent adhesion during firing; a tall, bamboo‑node foot; a sharply rising tokin (helmet‑crest) within the footring; a loquat‑colored glaze showing crackle; and kairagi (“plum‑blossom skin”), the beaded glaze that gathers like condensation around the foot. Bowls that possess all of these characteristics, however, are rare. Although the exact kiln sites and dates of production remain uncertain, Ido bowls are generally thought to have been made in folk kilns around present‑day South Gyeongsang Province in the sixteenth century. Regarded as the highest rank among Korean tea bowls—as expressed in the saying “First Ido, second Raku, third Karatsu”—Ido bowls have long been admired, and perhaps for that reason, a relatively large number survive in Japan. As wabi‑cha was developed by Murata Juko and later perfected by Sen no Rikyu, the appreciation of Korean tea bowls deepened. Among them, Ido bowls, imported to Japan from the Muromachi through the Momoyama periods, came to hold a special place, for their uncontrived forms and natural surfaces harmonized perfectly with the aesthetics of wabi. The discerning eye and passionate attachment of the tea masters who recognized in these bowls a generous, austere beauty were truly exceptional. By the late Tenshō era in the late sixteenth century, Ido bowls were already esteemed as the finest of all, and many came to be owned by daimyō families. It is therefore unsurprising that numerous Ido bowls bear names derived from their successive owners.
Gyeryongsan
Gyeryongsan is a celebrated peak rising in Gongju, Chungcheongnam-do, Korea, its distinctive ridgeline evoking the form of a rooster’s crest and a dragon’s head. Across the mountain’s foothills lie numerous ancient kiln sites, where, from the 15th to 16th centuries, buncheong ware was produced using iron-rich clay coated with brushed white slip and adorned with freely executed iron-painted designs. These works have long been collectively known as “Gyeryongsan” ware and are today held in high esteem worldwide. A wide range of techniques—Mishima inlay, hakeme, white ware, black glaze, and more—was developed, and vessel forms include bowls, dishes, bottles, and jars. The first full-scale archaeological investigation was conducted in 1929 by Sozo Kanda and Ken Nomori, followed by a reinvestigation in 1992–93 by the National Museum of Korea and the Hoam Art Museum. These findings have become foundational materials for the study of buncheong ware.
Kohiki
Kohiki is a type of korean pottery made by dipping a base with a high iron content in white mud, then covering the entire work with a transparent glaze and firing it. It was fired mainly in the 15-16th centuries. Unlike muji-hakeme, the entire surface, including the base and surrounding area, is covered with white mud, and the soft glaze on the surface gives it the appearance of being powdered, hence the name. The unique stains and spots known as “Amamori” that develop over many years of use are admired in japan, and the “Hima”, where the base color is revealed through the white mud, is one of the highlights. The tea bowl, sake bottle, and sake cup are highly sought after and highly prized. “Miyoshi（owned by Mitsui Memorial Museum）”, “Matsudaira（owned by Ebara Hatakeyama Museum of Art）”, and “Sohaku（owned by Ishikawa Prefectural Museum of Art）” are famous tea bowls.
Hakeme
Hakeme refers to a type of puncheong ware in which a clay body rich in iron is coated with white slip applied by brush, then covered with a transparent glaze and fired. When potters attempted to beautify the coarse clay body by giving it a white‑porcelain-like appearance, immersing the vessel completely in white slip caused moisture to penetrate the body and made it prone to collapse. For this reason, the method of brushing on the slip is said to have developed. Another view holds that the technique emerged simply to streamline the production process. The hakeme tea bowls of the Joseon dynasty, brought to Japan, were highly prized among tea practitioners. Based on period and decorative characteristics, they were given various names, and the motif was later adapted into Japanese-made tea bowls as well. Among tea bowls, a flat form with slightly flared rims is frequently seen.
Mishima
Mishima is pottery with an inlay design. There is a strong theory that the name “Mishima” is derived from the fact that the inlay design resembles the character layout of the mishima calendar of mishima taisha shrine（shizuoka prefecture). There is also a theory that it was named after the fact that it was imported via Mishima. Inlaid celadon, which flourished during the goryeo dynasty, gradually declined, and in the 15th century, as if reflecting a new era after Yi Seong-gye founded the joseon dynasty in 1392, it changed to the style that made full use of inlay techniques. While the base is still soft and dry, designs are created using intaglio or flower stamps, and white clay is then embedded. The white inlays expressed on the base material containing a lot of iron give a sense of elegance, and have a quiet dignity that is modest yet gorgeous. Depending on the design and technique, it is classified into koyomide, hana-mishima, reihin-mishima, hori-mishima, hake-mishima, gohon-mishima, etc, and its pure taste and warmth have been cherished by japanese tea masters.
Muji-Hakeme
Muji-hakeme is a type of korean pottery made from a gray base with a high iron content, coated with white mud from the inside to the outside hem, then coated with a transparent glaze and fired. White mud is soaked in the same way as kohiki, and the name comes from the fact that no brush is used.
We sell and purchase Punch’ong Ware / Korai Chawan
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