With its technique, subject, and style, this small flask teaches an especially instructive lesson on the cultural transmission and transition from the refined Goryeo dynasty (918–1392) aesthetics of the Buddhist court and aristocracy to the prevailing Neo-Confucian ethics of the early Joseon dynasty (1392–1910) and its demand for wares of a simpler nature. The materials and decoration of such robust glazed stoneware vessels (in Korean, buncheong) derive from Goryeo dynasty green-glazed stonewares, which are termed “celadons” in the West. In both traditions inlaid black-and-white clay paste designs (a technique called sanggam in Korean) are surrounded by a white slip (liquid clay) overlaying the undecorated areas of the vessel surface, which is sealed by a pale green glaze. Even the patterned bands at the sides and abbreviated scenes of waterfowl among willows and reeds on this Joseon flask relate to imagery on Goryeo inlaid celadon bowls and other vessel types from the second half of the 12th to late 14th centuries (see Smart Museum object number 1995.85). The motifs on this piece and on other inlaid Joseon buncheong stonewares are distinguished from their Goryeo models by the freedom and vigor of the designs.