The Enigmatic Allure: Unveiling the Astonishing Valuation of Imperfect Korean 'Moon Jars'

Fans of Korean art often describe the moon jar, or "dalhangari," as old, round, imperfect, and beautiful. These unpretentious white pots have captivated a wide range of admirers, including rapper RM from the K-pop sensation BTS and philosopher Alain de Botton.

The moon jar, referred to as an "icon of Korean identity" by Beth McKillop, the former director of London's Victoria and Albert Museum, recently fetched over $4.5 million at a Christies auction, demonstrating its popularity. This month, Sothebys in New York is set to sell a rare moon jar from the late 17th or early 18th century, with an expected price of over $3 million.

"A large moon jar has always been expensive, but I believe the significant increase in prices and value is due to their growing global appeal," stated Angela McAteer, Sothebys international head of Chinese art for the Americas and Europe, during a video call. "With an international cohort of bidders now vying for them, the demand has expanded beyond the traditional community of Korean art connoisseurs."

Sotheby's is auctioning this moon jar, which it expects to fetch in excess of $3 million, later this month.

Courtesy Sotheby's

The rarity of the jars is also a contributing factor to their high price tags. These jars were produced for over a hundred years in the royal kilns of Korea's final dynasty, the Joseon dynasty. However, it is believed that only a few of them exist today. Estimates suggest that the number of larger jars, measuring more than 40 centimeters (15.7 inches) in height and width, that have survived over the years ranges from 12 to 30.

Numerous jars have made their way through auction houses and antique dealers worldwide, finding their place in esteemed institutions such as the British Museum and Boston's Museum of Fine Arts, as well as being owned by private collectors.

Owning a piece of happiness

Moon jars, the initial ones of which were crafted between 1650 and 1750 in the royal kilns located in Gwangju (a city just outside Seoul, not the larger southern city of the same name), were fashioned from pure white porcelain and kaolin clay. In harmony with the prevailing neo-Confucian trends of that era, these pots embodied values such as propriety, humility, frugality, and purity. Presumably utilized at the court and in affluent households, they served as vessels for food and liquids or served as ornamental containers.

In the mid-20th century, moon jars gained international recognition due to the support of influential individuals like Japanese folk crafts scholar Yanagi Soetsu and British potter Bernard Leach. Leach purchased a moon jar from a Seoul antique store in 1935 and described it as owning a symbol of joy. He later entrusted it to fellow potter Lucie Rie for safekeeping during World War II, and it remained in her studio until her passing. Eventually, the moon jar was acquired by the British Museum.

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Charlotte Horlyck, a lecturer in Korean Art History at the University of London's School of Oriental and African Studies, wrote in the Art Bulletin journal that post-World War II, the moon jar captivated the initial generation of postcolonial Korean artists and scholars. Their aim was to revive Korean art history and national identity. These pieces reverberated with the visual language of international modernism and minimalism from the mid-20th century, while still retaining their distinctive Korean artistic essence.

The moon jars allure

When Sothebys revealed their upcoming auction, they described their 44-centimeter (17.3-inch) moon jar as an object that inspired, astonished, and provided solace to those who "encounter it in person." It may sound peculiar to describe a pot as if it possesses life, but the profound and emotional impact this jar has on people is a recurring theme in numerous literary works.

Kwon Dae Sup, a South Korean potter, has created a contemporary moon jar that demands more than just a superficial observation. Despite its unadorned porcelain design, the moon jar reveals various facets depending on the observer's mood and the prevailing weather conditions. A creation worth contemplating.

Choi Sunu, a former director of the National Museum of Korea, has described the moon jars in the museum as companions or muses that inspire his writing and stimulate his creativity. Bernard Leach appreciates the pots for their natural and unaffected nature. In 2012, South Korea's then-Unification Minister Yu Woo-ik used the moon jar as a metaphor symbolizing a reunified Korean peninsula (as the jars are made of two hemispherical pieces joined in the middle).

More recently, RM, a rapper from the K-pop group BTS, shared a picture on Twitter embracing a contemporary moon jar and expressed how it brings him a sense of tranquility.

"It is difficult for someone to truly grasp how a pot can elicit such emotions," McAteer commented. "It possesses a genuine meditative aura. Similar to sitting in front of an extraordinary artwork by American artist Mark Rothko, where one experiences a tangible energy emitting from it, the moon jar also engenders this sensation. One could spend hours simply basking in its presence."

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The more you observe, the more there is to discover. It appears distinct from every perspective," she remarked. "Photographing and cataloging it posed genuine challenges because it morphs into a new piece with each rotation or alteration of lighting. The surface exudes vitality, you know."

"You can witness the glaze merging, observe these impromptu bursts of a blush color that emerges during the firing process. Its surface has the ability to captivate you."

Modern masters

Contemporary Korean potters draw inspiration from these jars, resulting in numerous unique pieces paying homage. Kim Syyong, a renowned ceramist, opts for a black glaze adorning his pots, whereas Yun Ju Cheols crafts spikier versions resembling pufferfish, and Choi Bo Rams creates unvarnished, textured blue vases with a denim-like quality.

Others, such as Kwon Dae Sup, strive to faithfully replicate the techniques employed by ancient potters. Aged 71, this ceramist meticulously crafts plain white jars, enabling the exquisite imperfections to radiate. Situated in Gwangju, he operates from a studio that stands on the grounds where the renowned royal kilns once churned out magnificent moon jars.

South Korean potter, Kwon Dae Sup, begins the process of creating a moon jar by first crafting two sizable halves. These halves are then skillfully connected to achieve the pot's distinct round shape. The jar must be assembled in two parts to prevent the risk of collapsing during the throwing process.

Kwon Dae Sup lifts a large moon jar into a kiln.

Moon Duk Gwan/Courtesy Axel Vervoordt Gallery

Kwon Dae Sup inspects the pots being fired in his meticulously constructed kiln. This self-made furnace consists of two compartments capable of accommodating only four jars at a time. Kwon exclusively employs pine wood as the fuel source, resulting in an impressive temperature of over 1250 degrees Celsius (2282 degrees Fahrenheit).

Making a moon jar traditionally requires a significant amount of preparation. It is a labor-intensive process that involves washing, sifting impurities from the clay, kneading and rolling it to remove air bubbles, and carrying around large chunks of clay. Additionally, one must skillfully hand throw the clay into an oversized bowl shape without it collapsing. Furthermore, maintaining a pine wood fire for 24 hours is necessary for the pot to harden in the kiln. In order to closely replicate the old process, Kwon even constructed his own kiln. When asked about his motivation, Kwon explained that he finds it enjoyable. He described each creation as novel, as the quality of the material and the conditions in which he works vary each time.

The Frieze art fair is coming back to South Korea, providing a significant uplift to the art market in Asia. Kwon expressed a personal attachment to the moon jar, stating that during his student years, he encountered an extraordinary one at a Korean antique store which had a profound impact on him. This encounter influenced his decision to dedicate his life's work to these jars, as he believes they possess a sense of vitality.

In a book published by Axel Vervoodt Gallery in 2019, the potter expresses his aim to create art that requires no further modifications. He aspires to develop pieces that possess a commanding presence while blending harmoniously with their surroundings, irrespective of the time or place they are exhibited. Ultimately, his intention is to instill a sense of tranquility and comfort in all those who gaze upon his creations.

One of Kwon Dae Sup's contemporary moon jars, which gained recognition in the past century due to artist Kim Whanki's promotion. Kim frequently depicted these pots in his paintings, while they were previously known as "baekja daeho" or simply "large white pot."

Moon Duk Gwan/Axel Vervoordt Gallery.