This flattened buncheong bottle, known as a “turtle-shaped bottle,” has an exotic look, being adorned with vibrant designs in a striking contrast of dark and light colors. Buncheong ware is a special type of ceramics that was only produced in the fifteenth and sixteenth century of the Joseon Dynasty, with a distinct aesthetics that differs from either celadon or white porcelain. This is a rare example of a turtle-shaped buncheong bottle that has survived completely intact. With its unique form and bold designs, this bottle epitomizes the beauty and majesty of a National Treasure.

Bottles such as this, with a short mouth attached to a round, flattened body, have been dubbed “turtle-shaped bottles” for obvious reasons. Unlike most types of bottles, which generally have a long slender neck atop a voluminous body, turtle-shaped bottles have a more unusual form, with a width greater than their height and a very short neck. Here, the peculiar shape is accentuated by the white peony flowers blooming all over the bottle, which nicely contrast with the dark background.

In addition to buncheong ware, turtle-shaped bottles can also be found among pottery of the Three Kingdoms period and ceramics of the Joseon Dynasty. In the Joseon period, however, they were primarily made as common vessels for everyday use, so ornate examples like this are quite rare among either buncheong ware or white porcelain. They are believed to have been used to carry alcohol or other liquids during travel or outdoor activities. The mouth is angled upwards to prevent spillage even if the bottle was bounced or shaken during transport. They were likely attached to a string or cord for easier carrying, much like a canteen.

At first glance, it might appear that such bottles can be easily produced without much effort, but a cross-sectional analysis has shown that the walls of this bottle are exceptionally thin, ranging from 14 mm in the foot to just 3.8 mm in the center of the bottom. Such thin walls could only have been produced and joined through expert craftsmanship, belying the humble look of the vessel.

Buncheong ware is characterized by charcoal-gray base clay brushed with white slip, then covered in semi-translucent glaze with a green tint. The term “buncheong” did not appear until the 1930s, coined by Korean art historian Go Yuseop (1905–1944). “Buncheong” means “powdered celadon,” so that the defining characteristic of these unique ceramics—the coating of thin white clay—is ingrained in the name.

Buncheong ware emerged in the late Goryeo period as an imitation or replacement for inlaid celadon, which was in its declining phase. But buncheong ware soon developed its own free-spirited charm with fresh new designs and diverse decorative techniques, sharply diverging from the refined beauty of aristocratic Goryeo celadon. But after enjoying wide popularity for around 150 years across the fifteenth and sixteenth centuries, buncheong ware quickly disappeared after the sixteenth century as the preference and consumption for white porcelain increased.

Buncheong ware was decorated in many different ways, including inlay, stamping, Sgraffito, incision, iron-brown underglaze, brushed white slip, and dipped white slip. Furthermore, the design compositions and decorative techniques of buncheong ware vary depending on the region of production. For example, this turtle-shaped bottle was decorated with the Sgraffito technique, which was popular in Jeolla-do Province, thus allowing us to infer where it was produced.

For Sgraffito, after the bottle was coated with white slip, the background of the desired motif was scraped away, revealing the darker base clay underneath. This technique creates a stark contrast between the design and the background, which was further enhanced here by painting the background with iron oxide pigment. The peonies were depicted in an abstract style, looking almost like flickering flames. The extravagant expression and singular sensibility harmonize with the unconventional form, exemplifying the delightful appeal of buncheong ware.

Choi Sunu (1916–1984) was a renowned scholar who played a crucial role in preserving important artworks and artifacts during the Korean War, and then sharing Korea’s cultural heritage through special exhibitions at home and abroad. Through the course of his outstanding career, which included serving as the director of the National Museum of Korea from 1974, Choi Sunu became greatly accomplished in many different fields, including Korean art history, ceramics, crafts, and painting. His vast knowledge and lucid interpretation of art history is showcased in Collected Writings of Choi Sunu (five volumes in total) and Leaning on an Entasis Column of Muryangsujeon Hall, both of which continue to have a wide influence and readership.

In 2016, to commemorate the 100th anniversary of Choi Sunu’s birth, the National Museum of Korea held a small exhibition of some of his favorite pieces from the museum’s collection. The featured works were displayed in various places throughout the permanent exhibition hall, accompanied by Choi’s own descriptions and observations. One such item was this turtle-shaped bottle, which Choi Sunu described as follows:

“This turtle-shaped bottle is the work that most vividly represents the zeitgeist of early Joseon. Its innovative design and natural colors are so novel that they feel modern. The designs were made with the sgraffito technique, which involves coating the body with white slip, scraping the background with a blade, applying glaze, and then firing. But before firing, iron-rich pigment was brushed onto the scraped background areas, giving them the color of a ripe watermelon. As a result, the colors are more dignified, with a fresher harmony....The novelty of these designs is reminiscent of twentieth-century modern art from the West, which is why buncheong designs made with sgraffito or incision have attracted the attention of many art experts, often being compared to the drawings of Paul Klee or Matisse. In any case, with the remarkable modern sensibility of its form, enhanced by the engraved design on its back, this turtle-shaped bottle is being recognized as a very intriguing piece in the history of East Asian ceramics.”

Choi Sunu, from “Commentary on Masterpieces,” Collected Writings of Choi Sunu, Vol.1

As this wonderful review shows, Choi Sunu recognized the bold charm of this turtle-shaped bottle from the beginning. Now we invite you to come see the bottle for yourself to appreciate its beauty from your own perspective.