Celadon as an art form probably came to Korea during the eighth or ninth century from China. However, celadon production did not flourish in Korea until the tenth century during the Kroyo dynasty (936-1396.) By the twelfth century, underglaze decoration was prevalent and toward the middle of the twelfth century, an inlay technique called sanggam came into use. The inlay technique, the blue-green color and the crackled glaze of Korean celadon differentiates it from other celadons produced throughout Asia. In order to create the crane design, the artist carves the crane shape out of the hand-thrown greenware vase, then fills in the design with two different clays, fires the vase and then glazes and fires the vase again.

Worldwide, cranes are a symbol of peace and freedom. Throughout Asia, cranes are best known as symbols of fidelity and longevity. In Daoism, cranes function as important signs of transcendence. In Korea in particular, images of immortals riding cranes can be found in Goguryeo tomb murals from the fifth and sixth centuries.

High quality decorated celadon ceramics are more complicated and difficult to make than other ceramic wares. And if the kiln temperature during firing is off the mark even a fraction, the proper glaze will not be achieved.

Today the art of making celadon exists as a cottage industry and is concentrated in two villages in central South Korea. Many of the designs are very traditional, dating back over 1,000 years. Similar antique pieces can be seen in the Academy's collection.

Vase, Korean celadon, 6" diameter.