The mutual interactions in East Asia during the 17th-18th centuries has an important art historical significance in Chos?n ceramics.
Firstly. there is little evidence, except for a wide foot rim. that can prove the mutual interactions between Chos?n and China ceramics during the 17th century, because Chos?n was reluctant to receive the Chinese style and technique. due to the hostility of Chos?n to the Qing China after the war. In the 18th century newly changed situation made the influx of Chinese styles prominent in Chos?n. Chos?n scholars who emerged the major consumers of Chos?n porcelain began to recognize Qing culture and import the Chinese ceramic style. The use of the cartoon in painting themes and motifs, the appearance of landscape motifs. popularity of auspicious and flower-insects motifs, angular shape and Chinese-style decoration are good examples. But Chos?n did not simply borrow the decoration type from China. The theme and representation were changed to satisfy the Chos?n consumers' taste. The popularity of the "Eight scenes of the Xiao and Xiang Rivers 瀟湘八景," Chos?n-style flower motifs, designs with wide space, simple decoration, and peculiar official kiln system were the characteristic Chos?n-style different from the Chinese style.
Secondly, even though there were material and personal exchanges in ceramics, the exchange was solely one-sided from the Chos?n to Japan. Despite the invasion of Japan in 1592-1597, Chos?n showed kindness to .Iapan: Chos?n made tea bowls specially ordered from Japan in Woegwan 倭館 (special place for trade with Japan) from 1649 to 1710. For Chos?n it was a difficult and even burdensome job to make ceramic ware for the export to Japan because this required skillful potters and clay. In the 18th century. Japanese began to order Japanese-style ceramics. However the situation gradually changed. Chos?n potters kidnapped during the Japanese invasion taught the technique to .Japanese, and they made the first porcelain in Japanese ceramic history. In the middle of the 17th century Japanese began to export ceramics to Europe and received the Chinese style and technique actively. Thus in the 18th century Japan did not import Chos?n-style ceramics any more. On the contrary a group of Chos?n scholars called Pukhakp'a 北學派 which insisted on the urgent import of Qing culture and demanded the change of the ideas and systems of commerce. envied the Japanese respect toward ceramic skill.
Thirdly, Chos?n did not import the advanced Chinese production technique, while Japan tried to adopt various technique from Chos?n and China. The imported technique had become fundamental basis for Japanese porcelain technique. They also took the overglaze decoration from China and developed their own production technique. For Japan the export of ceramics to Europe and other Asian countries stimulated its production further. They could surpass the Chos?n in production technique. As for Chos?n there is no evidence that they produced over-glaze ceramics and improve their kiln system.
Finally. we have to note that the cultural golden age of the East Asia during the 17th 18th century was possible through the active interactions. The appearance of literary scholars as the main consumers of ceramics and the taste of aesthetic patron affected the porcelain style. The landscape motifs. the poetic description on porcelain and the increase of stationary production were common. The identical taste of consumers in these country had great influence on the mutual interaction.