Timeline KOREA CHINA JAPAN 0 Three Kingdoms Period, 57 B.C.E.-668 C.E. Silla Kingdom, 57 B.C.E.-668 C.E. North and South Dynasties, 220-589 Baekje Kingdom, 18 B.C.E.-660 C.E. Kofun, ca. 300-538 Goguryeo Kingdom, 37 B.C.E.-668 C.E. Gaya Federation, 42-562 500 C.E. Sui Dynasty, 581-618 Asuka, 538-710 Unified Silla Dynasty, 668-935 Tang Dynasty, 618-907 Nara, 710-794 Barhae, 698-926 Five Dynasties, 907-60 Heian, 794-1185 Liao Dynasty, 916-1125 1000 C.E. Goryeo Dynasty (Koryŏ), 918-1392 Song Dynasty, 960-1279 Jin Dynasty, 1115-1234 Kamakura, 1185-1333 Yuan Dynasty, 1271-1368 Nanbokucho, 1336-1392 Joseon Dynasty (Chosŏn), 1392-1910 Ming Dynasty, 1368-1644 Muromachi, 1392-1573 *Sometimes also called the Yi Dynasty, after the surname of the Royal Family, Yi 1500 C.E. Momoyama, 1573-1615 Qing Dynasty, 1644-1911 Edo, 1615-1868 Meiji, 1868-1912 1900 C.E Japanese Colonial Period, 1910-45 Republic Period, 1912-49 Taisho, 1912-26 The Republic of Korea (South Korea), 1948- The People’s Republic, 1949-Present Showa, 1926-1989 Present Glossary Arita porcelain (Arita-yaki 有田焼, also called Imari porcelain ): Japanese porcelain ware made in the town of Arita in northwestern Kyushu. Arita ware was exported to Europe extensively from the port of imari in Saga Prefecture over the period extending from the second half of the 17th century through the first half of the 18th century. Ash glaze: The process of ash glazing began around 1500 BC in China. Around 1000 BC potters realized that ash was covering the piece as it was fired, so they started adding the ash as a glaze before the pot went into the kiln. Ash glaze was one of the first glazes used and contained only ash, clay, and water. Buncheong ware (Also spelled Pun-ch’ŏng, 분청 , 粉靑). It is a form of traditional Korean stoneware, with a bluish-green tone. Pots are coated with a white slip, and decorative designs are painted on using an iron pigment. The style emerged in the early Joseon Dynasty (1392-1910), largely replacing Goryeo celadon ware in common use. Celadon (Korean 청자; Chinese characters 青瓷): A celadon glaze is a high-fired, transparent, pale bluish green—or sometimes pale grayish blue—glaze that is typically applied over a light gray stoneware body. The characteristic bluish green color results from a small amount of iron oxide in the glaze. The Chinese term for celadon is 青瓷 which is pronounced cheongja in Korean. The first character in the compound, 青 (qing in Chinese; cheong in Korean), means “pale bluish green” and refers to the color of the glaze; the second character, 瓷 (ci in Chinese; ja in Korean) means “high-fired ceramic ware” and refers to the underlying stoneware body. The word “celadon” came into English from the French. It first appeared in France in the seventeenth century as the name of the shepherd, Celadon, in the pastoral romance novel l'Astrée by Honoré d’Urfé (1568–1625). Because Celadon wore sage green ribbons, his name became associated with the color. (d’Urfé, in turn, borrowed his character from Ovid’s Metamorphoses.) Chanoyu (茶の湯, lit. "tea hot-water") is the Japanese phrase for the Japanese tea ceremony. In Korean the tea ceremony is called 다도 , dado or chadō (in Chinese characters 茶道), "the way of tea." The tea ceremony is strongly influenced by the tenets of Zen Buddhism. Chinoiserie: A French word. The imitation or evocation of Chinese motifs and techniques in Western art, furniture, and architecture, especially in the 18th century. Earthenware (Korean 도기; Chinese 陶器): Employing humble clays, earthenware is fired in the range of 1600˚ to 2000˚Fahrenheit. Because of its low firing temperature, earthenware is porous; unless the piece is glazed, capillary action will pull liquids through the porous walls. Earthenware is typically buff but, depending upon the clay used, may span a range of earth tones from black and gray to brown and white. Basic characteristics: low-fired, porous, opaque, and typically buff in color. Glaze: A thin coating of glass . An impervious silicate coating, which is developed in clay ware by the fusion under heat of inorganic materials. Imjin War: The Japanese invasions of Korea in 1592 and 1597, ended in 1598 and interrupted by a brief truce in 1596. The invasions were launched by Toyotomi HIdeyoshi (1536–1598), a preeminent Japanese samurai warrior, with the intent of conquering Ming Dynasty China by first conquering Joseon Dynasty Korea in order to establish a land invasion route to China. Jingdezhen: (Chinese 景德镇) It is a town in northeastern Jiangxi province, China. It is known as the "Porcelain Capital" because it has been producing pottery for 1,700 years. During the Ming and Qing dynasties, Jingdezhen was considered one of China's four great towns in terms of commercial and industrial importance. Kaolin: Also called China clay, is soft white clay that is an essential ingredient in the manufacture of porcelain. Kiln - A thermally insulated chamber, a type of oven, that produces temperatures sufficient to complete some process, such as hardening, drying, or chemical changes. Matcha (Chinese 抹茶): A bitter green tea made of powdered green tea. Moon jar (Korean 달항아리 ): This is a Korean white porcelain, produced in Korea from the mid 17th to the mid 18th century. The term “moon jar” refers to large-sized, Joseon-era white porcelain jars that are mostly in the range 16 to 20 inches in height with a round body and no particular exterior decorative design. Overglaze: A color or design applied on top of already fired and glazed pieces, and then fired again. Porcelain (Korean 백 자 ;Chinese characters 瓷器 , 白瓷): Employing two white clays, kaolin and petuntse, porcelain is fired in the range of 2372 to 2550˚ Fahrenheit. As with stoneware, porcelain’s high firing temperature results in vitrification, so that porcelain is impervious to liquids, even without a glaze. When properly prepared, mixed, and fired, kaolin and petuntse give rise to a fine-grained, white ceramic ware that is translucent, due to the high silica content. Basic characteristics: high-fired, vitrified, non- porous, white, bell-like ring, and translucent. Samurai: A member of a powerful military, or "warrior" caste in feudal Japan. Sanggam: Traditional Korean celadon ware’s distinctive decorative element. Small pieces of colored clay are inlaid in the base clay. Satsuma Ware (Japanese 薩摩焼 satsuma yaki) A style of Japanese ware originally from the Satsuma region in southern Kyūshū, Japan. The enamel overglaze designs of Satsuma appealed to the tastes of western consumers, and it became the most recognized and profitable export product of the Meiji period (1868-1912). Sen no Rikyū (千利休, 1522 – 1591) Also known simply as Rikyū, he is considered the historical figure with the most profound influence on the Japanese tea ceremony, particularly the tradition of wabi-cha. He was also the first to emphasize several key aspects of the ceremony, including rustic simplicity, directness of approach and honesty of self. Stoneware (Korean 단단한도자기 ; Chinese 硬陶): Employing sophisticated clays, stoneware is fired in the range of 2100˚ to 2300˚ Fahrenheit. Because of stoneware’s high firing temperature, the particles of silica in the body clay melt and fuse together in a process known as vitrification, making stoneware impervious to liquids, even without a glaze. Stoneware pieces are coated with glaze partly to aid in keeping them clean but mainly to make them as colorful and as beautiful as possible. Stoneware is typically light gray but depending upon the clay used and the firing conditions, may be black, white, brown, or dark gray. Basic characteristics: highfired, vitrified, non-porous, opaque, bell-like ring, and typically light gray. Wabi-cha (Japanese わび茶; 侘茶; 侘び茶) A style of Japanese tea ceremony particularly associated with Sen Rikyū. Wabi-cha emphasizes simplicity. Wabi-sabi (Japanese 侘寂) Japanese aesthetics of the acceptance of transience and imperfection. Yanagi Muneyoshi (柳宗悅, 1889-1961) Also known as Yanagi Sōetsu. A Japanese philosopher and founder of the mingei (folk craft) movement in Japan in the late 1920s and 1930s. Yi Sam-pyeong (1579-1655) Also known as Kanagae Sanbee (金ヶ江三兵衛). A Korean potter who is often considered the father of Imari porcelain (Arita porcelain) .