A Guide to Korea’s Elegant and Enigmatic Moon Jar

The jar’s curves are full yet simple. Its white color is pure but not cold, and its glaze shines warmly without being flashy. The humble Korean moon jar has captivated the world and is experiencing a huge resurgence in popularity.

The international craze for moon jars first started in the UK. It began in 2006, when a curator in London’s Bonhams auctioned a moon jar by Park Young-sook, sparking interest from the British Museum. This led to unexpectedly high bids at Christie’s auctions in New York and Hong Kong, making moon jars a significant and growing part of the Korean art world. For reference, an 18th-century moon jar was auctioned for about 6 billion won ($4.56 million) at a Christie’s auction in New York this March (shown above).

This is quite ironic as moon jars are Confucian in nature. Confucianism formed the spiritual foundation of Joseon society and valued simplicity, modesty, and restraint. It revered the spirit embedded in the formality of “propriety” (ye) and sought inner perfection through the virtuous life of a scholar called seonbi who emphasized Confucian learning and ethics. These scholars aimed to achieve “benevolence,”  which is to be upright and good.

What is a Moon Jar?

The moon jar (Baekja Dal Hangari), a large white porcelain jar, was primarily produced during the reigns of King Yeongjo and King Jeongjo in the late Joseon period (circa 1724–1800). These jars were made at the royal kiln in Gwangju, Geumsari, Gyeonggi Province, which was a branch of the Saongwon, the royal ceramics office.

The unadorned white porcelain of the moon jar symbolizes the dignity of the revered Korean scholar and embodies the aesthetic sensibilities of the Joseon era. Today, it is considered an icon of Korean aesthetics, representing the refined white sensibility of Joseon society.

These large jars typically measure over 40 cm in both width and height, with some reaching up to 50 cm. Due to the difficulty in their production and maintenance, they were not made in large quantities. As a result, only about 20 authentic examples remain worldwide, housed in institutions such as The British Museum, the Asian Art Museum in San Francisco, the Museum of Oriental Ceramics in Osaka, and the National Museum of Korea.

History of the Moon Jar

Joseon’s white porcelain (Baekja) has its origins in Buncheong ware, which emerged alongside Goryeo celadon. While Goryeo celadon was aristocratic and decorative, early Joseon white porcelain featured a restrained white color achieved by applying white slip over a greyish clay, resulting in a simple yet elegant beauty. Sometimes, techniques such as incising or inlay were used to add various decorations, creating bowls, plates, and teapots for practical, everyday use, though not in large quantities.

In the late 15th century, during the reigns of King Seongjong (1469–1494) and King Yeonsangun (1494–1506), the use of white clay in Joseon white porcelain became more prominent. Regions like Gwangju and Icheon in Gyeonggi Province were key production centers for white clay and housed government kilns, making them the heart of ceramic production to this day. These areas produced various types of white porcelain, including blue-and-white porcelain (Cheonghwa Baekja) and iron-painted porcelain (Cheolhwa Baekja).

National Treasures

In Korea, three moon jars are designated as National Treasures and four as Treasures, all of which are protected and managed as cultural assets.

Currently, National Treasure No. 262 is housed in the Yongin University Museum, and National Treasure No. 309 is located at the Samsung Museum of Art, Leeum. National Treasure No. 310 can be found in the National Palace Museum of Korea.

Treasure No. 1437 is preserved in the National Museum of Korea, while Treasure No. 1438 is privately owned by Kim Young-moo in Jongno-gu, Seoul. Treasure No. 1439 is privately owned by Choi Sang-soon in Yeongdeungpo-gu, Seoul. Lastly, Treasure No. 1441 is displayed in the Amorepacific Museum of Art. These moon jars are managed and preserved in these institutions and private collections, highlighting their cultural and historical significance.

Where Can You See Moon Jars?

In Seoul, Insadong is a wonderful place to explore traditional art materials like old brushes, inkstones, and Hanji paper. You can also savor traditional Korean food in historic Hanok houses. As you walk through this vibrant street, you might easily come across a moon jar. However, these are not the same as the original Joseon dynasty pieces that have sold for $4.56 million at Christie’s in New York. Instead, these are 21st-century moon jars crafted by contemporary Korean potters.

In the areas of Jangandong and Dapsimni in Seoul, you can find many antique shops. However, it is rare to see genuine Joseon dynasty moon jars there.

The National Museum of Korea has been holding a permanent exhibition since 2021, showcasing the evolution of Buncheong ware and white porcelain from the Joseon dynasty. Here, you can see the moon jar (Treasure No. 1437). The Samsung Museum of Art, Leeum, also features a permanent exhibition of its antique collection, including the moon jar (National Treasure No. 309).

Joseon’s White Porcelain Moon Jar Reimagined in Contemporary Korean Art

Kim Whanki is the most expensive Korean modern and contemporary painter. His 1971 work “Universe” sold for 13.2 billion KRW (approximately $9.5 million) at a Christie’s auction in Hong Kong.

After completing his studies in Japan, he began his career in 1937 by participating in the “Association of Free Artists,” which was based on European art movements, at Nihon University’s Art Department and the Japanese Avant-Garde Institute. This continued until 1941. Around 1941, he and some colleagues set a motto to inherit Korean tradition. From that point, the moon, Joseon white porcelain, and nature began to appear in his works. From the 1950s to the 1960s, white porcelain moon jars became a main subject in his paintings, which he named “Moon Jars.”

 

Today, Kim Whanki (along with Jang Wook-jin and Park Soo-keun) is considered one of the leading painters representing modern Korean art. Their common trait is their “Korean-ness.” Another shared aspect is that they entered the art world during Japan’s colonial period. Perhaps they felt a sense of duty to preserve cultural identity as Koreans living through a tragic modern history.

As an icon of condensed Korean aesthetics, the “moon jar” continues to be reproduced today by many contemporary artists, including Ko Young-hoon, Kang Ik-joong, Koo Bohn-chang, Kim Duk-yong, Kim Yong-jin, Kim Pan-ki, Lee Yong-soon, Choi Young-wook, and many others.

What to Look for When Buying Moon Jars

The most well-known contemporary ceramic artists for moon jars are Park Young-sook and Kwon Dae-seop mentioned above. Kwon Dae-seop’s works, about 55 cm tall, typically sell for around $50,000 (Christie’s £52,500), and Park Young-sook’s for about 200 million won. Other artists like Park Boo-won, Shin Hyun-cheol, Shin Myung-ho, Lee Soon-gu, Kim Young-sik, Han Ki-seok, Kim Pan-gi, Shin Han-gyun, among others, also have notable works. Generally, prices can range from 10 million won to 100 million won, and there are also excellent pieces available for several hundred thousand won. Pieces are usually purchased directly from the artist or through galleries connected to the artist. Inexpensive pieces can also be seen at the traditional pottery exhibition hall in Icheon, Gyeonggi-do, which is the largest in Korea.

In contemporary ceramics, what constitutes a good moon jar is a matter of personal taste. If I were to express my opinion, I focus on whether it somewhat embodies the archetype of a Joseon white porcelain jar. The shape should be gentle and abundant, without sagging downwards or bulging upwards, maintaining stability. The shape of the mouth (top opening) must also be free from strain, and most importantly, the overall balance should be natural, neither too perfect nor too collapsed. The white should not be shallow but deep, and the most crucial aspect is the glaze’s gloss. If the gloss is too shiny, it loses the deep taste of white porcelain, and if it’s too smoky, it becomes too modern. I believe the surface’s appropriate deep gloss significantly influences the overall feel of the piece.