Discovering the Quiet Charm: An Introduction to Joseon Baekja (조선백자)

## Discovering the Quiet Charm: An Introduction to Joseon Baekja (조선백자)

Have you ever seen a simple white ceramic piece that just... resonates? That's often the feeling people get from **Joseon Baekja (조선백자)**, the white porcelain of Korea's Joseon Dynasty. Far from being merely "plain," these ceramics, especially the famous **Dalhangari (달항아리)** or "moon jars," have captured global attention and even fetched record-breaking prices at auction, sometimes exceeding 3 billion Korean won. What is it about these seemingly simple vessels that makes them so special? Let's explore the world of Joseon Baekja, drawing insights from the sources.

**What Makes Baekja (백자) Unique?**

At its core, Baekja is a type of **Jagi (자기)**, the Korean term for porcelain. It's made from pure white clay (백토) and coated with a clear, transparent glaze. The magic happens in the kiln, where it's fired at extremely high temperatures, typically between **1,300°C and 1,350°C**, in a **reduction atmosphere (환원번조)**. This high heat vitrifies the clay, making it very hard and dense.

The colour isn't always a single shade of white. Depending on the clay, glaze, and firing conditions, it can range from a pure snow-white (**Seolbaekseak, 설백색**) to a milky white (**Yubaeksaek, 유백색**) or even have a subtle bluish tint (**Cheongbaekseak, 청백색**).

**The Iconic Moon Jar (달항아리)**

When people talk about Joseon Baekja, the **Dalhangari (달항아리)** often comes to mind. Named because their large, round shape resembles a full moon, these jars are sometimes formally called **Baekja Daeho (백자대호)** when over 40cm in both width and height.

A key characteristic is their **inherent asymmetry**. Unlike smaller pots, these large jars were typically made by crafting the upper and lower halves separately on a fast, clockwise-rotating wheel, then joining them together. This process leaves visible traces and results in a form that looks slightly different from every angle – sometimes described as having "a thousand faces". This "awkwardly formed roundness" is not a flaw but a unique and appealing feature. Moon jars are considered particularly rare, with only around 20 existing worldwide, including seven designated as National Treasures or Treasures.

**A Journey Through Joseon History**

While white porcelain began in the late Goryeo period, it truly **flourished during the Joseon Dynasty (조선시대)**. The production of high-quality ware, especially for the royal court, was concentrated at official kilns, the **Gwan-yo (관요)**, located primarily in Gwangju, Gyeonggi Province.

*   **Early Joseon (1392-1650):** Witnessed both softer, milky-white types and harder, whiter ones. Forms were generally round and flexible, reflecting the state's ideology and possessing dignity. High-quality pieces were often fired in protective cases (**Gap, 갑**).
*   **Middle Joseon (1651-1751):** Baekja developed a more subtle bluish tint. Shapes became slimmer and more angular, seen as forming a unique Korean character. This period saw increasing diversification in forms and decoration.
*   **Late Joseon (1752-end of Dynasty):** Forms and decorations became even more varied. There was a growing demand for more decorative pieces alongside the pure white ones.

**Beyond Pure White: Decoration and Meaning**

Although **pure white porcelain (Sunbaekja, 순백자)** with no added decoration was highly valued, especially in the late 16th century, Baekja was often decorated using various techniques.

*   **Pure White Decoration:** Techniques like incising (**eumgak, 음각**), relief (**yanggak, 양각**), or piercing (**tugak, 투각**) were used to create patterns within the white clay itself.
*   **Underglaze Iron (철화백자):** Designs drawn with iron oxide pigment resulted in brown or blackish-brown patterns.
*   **Underglaze Cobalt Blue (청화백자):** Using cobalt oxide pigment under the glaze created blue patterns. This technique, influenced by China, became very popular, with domestic cobalt sources developed after initial imports.
*   **Underglaze Copper Red (진사백자):** Copper oxide was used to produce red patterns. This appeared later, starting in the 18th century.
*   Other methods included inlaid designs using dark clay (**Sanggam baekja, 상감백자**) in the 15th century, or applying pigments over larger areas (**cheolchae, 철채**, **jinsachae, 진사채**, **cheonghwachae, 청화채**), sometimes combining colours.

Baekja served important cultural and functional roles. In the royal court, white porcelain jars decorated with dragons (**Yunryongmunho, 운룡문호**) were used in ceremonies for holding flowers or alcohol. Small vessels sometimes served as **burial items (명기)**, representing objects for the afterlife. **High-footed plates (Gojokjeopsi, 고족접시)** were significant in ancestral rites (제사), where the height of food offerings symbolised respect. This tradition of using high-footed plates continues today for special ceremonies.

Decorations often featured **auspicious motifs (Gilsangmun, 길상문)** wishing for things like longevity (수, 壽) and happiness (복, 福). Popular symbols included the **Ten Symbols of Longevity (Sipjangsaeng, 십장생)**. These character motifs were used widely across society. In the 19th century, these decorative styles often resembled folk paintings (**Minhwa, 민화**).

**Admiration Across Cultures**

The simple beauty of Joseon Baekja has been admired by many. Korean abstract art master **Kim Hwan-ki (김환기)** featured them in his paintings and felt their "tactile warmth". Expert **Choi Sun-u (최순우)** praised their "awkwardly formed roundness" as a unique Korean quality.

Internationally, British potter **Bernard Leach** was so taken by a Dalhangari in 1935 that he said, "I am taking happiness with me". Art historian **Michael R. Cunningham** viewed moon jars as an honourable symbol of the "Korean voice," embodying unpretentiousness, firmness, and being "incomparably Korean". Even actress **Judi Dench** found a modern Dalhangari so beautiful it made her worries disappear.

Some might find the plainness unremarkable, but author Jeon Ki-yeol suggests its beauty lies in "extreme ordinariness" and requires appreciating simplicity. He sees it as expressing "one mind" or a world without discrimination.

**A Lasting Legacy**

Joseon white porcelain is celebrated for its **functional beauty (기능미)**. It is simple, unpretentious, and dignified, often incorporating humour and wit. It values naturalness and beauty in simplicity.

Today, you can see magnificent examples in museums worldwide. Modern Korean potters, like **Ji Soon-tak (지순탁)**, a master in Baekja craft, continue to draw inspiration from this rich heritage.

Joseon Baekja offers a quiet but profound glimpse into Korean history, artistry, and philosophy—a beauty that continues to resonate deeply with people today.