With the advent of punch'ong (literally "powder green")- a greyish stoneware brushed with white slip- a vigorous and robust new era of ceramic design was ushered in by the early Choson potters. This bottle has a band of incised lotus petals around the neck and a band of scrolling vines around the bottom. The central area is decorated with two fish and two long-legged birds (cormorants) in a lotus pond. The birds are presumably preying on the fish, but the fish are nearly twice as large as the birds. This humorous, whimsical approach is typical of Choson potters, as is the preference for bold, asymmetrical designs and spontaneous, freehand effects. These are qualities that have been greatly admired in both Japan and the West in this century.

The design is deeply incised on the white, slip-painted body and the ground around it is scraped off in a sgraffito technique revealing the dark clay below, and giving the appearance of raised, volumetric modeling. The technique of scraping was developed mainly in Cholla province in the southwest and this jar was probably a product of that area. The technique reached the height of its development by the early 15th century. The glaze is thin and transparent, and has a slight greenish-blue caste. A date for the bottle is provided by a jar with similar design of fish in a lotus pond in the fully developed scraped technique excavated from a reliquary monument erected in 1430 for Kobong (d. ca. 1428), a monk at the Songkwang-sa monastery in South Cholla province (see Gompertz, Korean Pottery and Porcelain of the Yi Period, London, 1968, pl. 19).

For another Punch'ong bottle also rendered completely in sgraffito technique with fish on the body and leaves at the neck see Itoh, Ikutaro, Masterpieces of Chinese and Korean Ceramics in the Ataka Collection, Hayashiya Seizo, ed. (Tokyo: Nihon Keizai Shimbun, 1980), pl. 333