Korean Ceramic Celadon Bowl with Slip Inlay Goryeo Dynasty

On offer is a Korean celadon bowl with elaborate slip inlays circa 13-14th century from the late Goryeo Dynasties (918 to 1392AD). Despite inspired originally by the celadons from Song Dynasty in China, the development of celadon in Korean peninsula took its own course and reached the zenith in the 11-12th century during Goryeo dynasty. One singularly distinguishable characteristic was the masterful slip inlay techniques which was uniquely Korean and specifically Goryeo. The potter first cut out the design on the clay, then filled with white or black slip inlay before a surface glaze was applied for firing. This process created contrasting designs that range from rustic, intricate to elaborate, depending on the kilns, production period as well as the purpose of consumption. The masterpieces from the peak of the production radiate with a beauty of purity that was often compared to water and jade. The inlay work can be dazzling for its intricacy. During 13-14th century, the inlay decoration gradually displayed a tendency that was elaborate and sometimes over embellished, characterized by a more crowded pattern. This bowl on offer expresses such a feature to a certain degree, therefore warranting a dating to the 13th century.
The interior of the bowl showcases a beautiful but somewhat crowded inlay design. Four flying cranes with both white and black strokes of slip define the four cardinal directions. The cranes were surrounded by neatly arranged white slip clouds in three rows. Another row of Ruyi heads (the longevity fungus) circulates the center roundel anchored by a chrysanthemum flower. A stylized geometrical border within two thin bands runs along the top of the the interior rim. Comparatively, the exterior of the bowl was decorated in a less density. Four chrysanthemum flower with both black and white slips in double circles were placed outside, sandwiched between the upper and lower double-lined border. The overall impression of the decoration is a clear consciousness in the artist to achieve an order in aesthetics in this piece. It appears that great attention was paid to the symmetrical layout of the design as well as the precision of the individual components. There is an overall fine crackles on the glaze and the base of the bowl retains sand residues as well as losses of glaze due to the placement in the kiln.
For a comparable piece from the same period, see item Deoksu 151 in the collection of the National Museum of Korea. Illustrated on page 107 of 5000 years of Korean Art 1979-1981.
A nearly identical bowl is also in the collection of Detroit Institute of Art No.74.87 (picture of reference available).