During the Joseon era, the predominant preference in ceramics was for unadorned white porcelain, reflecting the national ethos of prudence and austerity grounded in the Confucian principles. However, from the latter half of the 18th century onwards, there was a notable surge in the consumption and importation of colored ceramics from China. Of particular interest were the emerging varieties known as Falang ("enamel") or Yang ci falang ("enamel of foreign colors"), which began circulating, particularly within the Joseon royal court. It is highly likely that these varieties belong to the Hua falang ("polychrome painted enamel"), such as Citai hua falang ("tin-glazed enamel") or Tongtai hua falang ("copper-body painted enamel"), produced in the Qing court. The excavated and passed-down objects are also related to the Joseon royal family, predominantly including the pieces of Fencai ("powder colored porcelain") produced by Jingdezhen private kilns in the late 19th century, and Guangcai ("Canton porcelain") from Guangzhou. The prominence of polychrome-enameled porcelain, embellished through the technique of "painting" with "enamel pigment," within the Joseon royal court in the late 18th century, suggests a departure from viewing colored pottery as a mere luxury. Instead, it is seen as projecting a sophisticated image in line with Joseon's aspirations towards modernity. This shift indicates a deliberate effort to align with contemporary trends, portraying Joseon as a self-assured modern nation capable of navigating the complexities of a rapidly evolving era
