MOON JAR, White porcelain, Joseon Dynasty（1392–1897CE）
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The Moon Jar is a distinguished masterpiece crafted during the mid-Joseon Dynasty, also known as the Lantern Jar or Full Moon Jar (Dalhanari). The Joseon era was deeply influenced by Confucian thought, which permeated the arts and led to a celebration of the pure beauty of white porcelain, characterized by its restrained decoration. The hallmark of white porcelain from this period is its pristine whiteness, with subtle variations that are rarely identical, classified into shades such as milky white, snow white, ash white, and bluish white.
The Moon Jar derives its name from its round form, reminiscent of a full moon, a title bestowed by the Korean abstract painter Kim Whanki. Its soft, flowing curves and robust body evoke a sense of both grandeur and tranquility. Such forms were predominantly produced in the 17th century.
The white of the Moon Jar is neither the pure white typical of early Korean ceramics nor the grayish white characteristic of mid-Joseon porcelain, nor the bluish white often produced at the Bunwon kiln. While it is generally referred to as milky white, not all Moon Jars conform to this description; many exhibit a variety of white tones within a single vessel. Additionally, one may observe yellowish spots resulting from oxidation or incomplete combustion, as well as discoloration from liquid permeation in jars that were used for storage.
The Moon Jar consistently presents a spectrum of white tones that subtly evolve over time. This organic transformation of white and its tonal diversity may be what captivates us. Furthermore, it is exceedingly rare to find a large jar devoid of any decoration within the realm of global ceramics. The expansive white sphere of the Moon Jar represents a blank canvas, stimulating our innate desire for simplicity. Once any form of painting or ornamentation is applied to its surface, it ceases to be regarded as a Moon Jar. This emptiness epitomizes perfect restraint and anonymity, devoid of desire or self-centeredness, exuding a compelling sense of randomness. The diverse thoughts and inspirations arising from the solemn yet delicate surface of the Moon Jar embody the aesthetic sensibilities and beauty appreciated by people of that time.
This particular piece is in excellent condition, maintaining an almost flawless form. The stains on the body create a singular landscape, imparting a unique charm. Additionally, with a height of 38 cm, it is a modest size that fits well within a tea room. Large Moon Jars are challenging to shape as a single piece on the potter's wheel, often requiring the upper and lower hemispheres to be crafted separately and then joined. This piece, while smaller, is constructed from two joined halves, with visible seams on the interior.
Numerous product photos are available for you to examine the details and condition. Should you have any questions, please do not hesitate to contact us.
The aesthetics of the period did not favor surface-level ornamentation or technical prowess but emphasized forms and expressions that quietly supported the inner life of the individual. Objects and furnishings were not merely tools of utility—they might be seen as a kind of dōjō, spaces for self-discipline and reflection. A humble jar placed in a scholar’s study, a plain desk, or an unadorned brush rest were not only objects to be observed but mirrors reflecting one’s posture and thoughts.
It is no coincidence that the crafts of the Joseon period possess a “quiet presence.” These works were created not to impress, but to accompany the human spirit—to breathe with it and to help bring it into balance.
Take white porcelain, for example. Subtle glaze flows, the tremble of clay, slight asymmetries in shape—these so-called “unintentional phenomena” were accepted and even cherished. They reflect a broad-minded sensibility that contrasts sharply with modern ideals of perfection and uniformity. This sensibility questions the boundaries between nature and artifice, beauty and imperfection, object and mind. One could even say it was not just a way of making but an expression of the spirit of the age.
If we were to describe Joseon-era beauty, it is less a “beauty of display” and more a “beauty of resonance.” Not the charm of an object itself, but the way it creates a moment for the viewer to reflect on how to live and how to be. For this reason, the object must not speak too loudly—it must carry emptiness, pauses, and silence within. This kind of thinking seems to run through the very heart of Joseon craftsmanship.
These values would eventually cross the sea and take root deeply in Japan. In the world of chanoyu (the Japanese Way of Tea), Joseon white porcelain and buncheong ware had already begun to be used by the late Momoyama period. Their modest and quiet character offered a contrast to the stately grandeur of Chinese imports. The aesthetic sensibility of “listening to what is unsaid” in tea culture resonated with the silence and imperfection held by Joseon vessels, nurturing a gaze that would eventually find form in the spirit of wabi-sabi.
In modern times, thinkers of the Mingei movement such as Yanagi Sōetsu and Kawai Kanjirō discovered in Joseon crafts “a power that purifies” and “a form of life as it ought to be.” In an age when traditional crafts were being forgotten, these objects were not viewed merely as antiques but as expressions of a way of being—welcomed with profound respect and empathy.
Even now, when I encounter a crafted object from the Joseon period, I find myself moved by its stillness. Within it dwells the spirit of a time that asked how we ought to live and what it means to be—and that quiet voice continues to speak to us, undiminished by time.
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Tax excluded. Import duties may apply. Shipping costs are calculated at checkout.
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