Journal of Korean Art and Archaeology Vol.8
2014. 01.
2577-9842
2951-4983
INTRODUCE
- METAL CRAFTS OF BAEKJE AND SILLA
- Joseon literati, who deeply revered the Chinese Neo-Confucian scholar Zhu Xi (1130-1200), often took inspiration from his works. Sixteenth-century Joseon intellectuals admired Zhu Xi’s Records on Mt. Wuyi and wrote poems appropriating the rhymes of his Wuyi Boating Songs. “The Nine-Bend Stream at Mt. Wuyi,” one of Zhu Xi’s famous poems, was often portrayed in paintings called Nine Bends at Mt. Wuyi. Veneration for Zhu Xi and this poem was so great that an independent subculture based on the “nine bends” arose in Korea as Joseon literati began to associate “nine bends” with utopia. Korean scholars published essays on the topic and even sought to recreate the nine bends in their own home areas. In “The Tradition of Dosando Paintings and the Nine Bends at Dosan”, Yun Chinyong, Senior Researcher at The Academy of Korean Studies, examines the “nine bends” culture of Korea, with special emphasis on Dosan, a hill north of Andong, where Yi Hwang (1501-1570), one of Joseon’s most prominent Confucian scholars, erected his retirement home. In particular, this paper considers the significance of visualizing Dosan through Dosando, or “paintings of Dosan,” a subgenre of Joseon paintings that depict Yi Hwang’s retreat. It further explores the relationship between Dosando paintings and the Joseon practice of designating specific sites as the nine bends of a particular area, following Zhu Xi and his Nine Bends at Mt. Wuyi. Although well-aware of a possible association between Dosan and Mt. Wuyi, Yi Hwang never identified any specific places as nine-bend sites in the Dosan area, and thus his seventeenth-century followers did not portray the nine bends of Dosan in their Dosando paintings. His eighteenth-century followers, however, designated nine places with close ties to Yi Hwang as the “nine bends of Dosan,” which they depicted in their paintings. In essence, such efforts reinforced the lineage of Neo-Confucian scholarship, beginning with Zhu Xi and continuing to Yi Hwang. In “Scientific Analysis of a Goryeo Lacquer Incense Box with Inlaid Mother-of-pearl and Gold-Painted Designs,” Yi Yonghee, Curator at the National Museum of Korea, presents the results of a detailed technical study of the remnants of a Goryeo lacquer incense box set in the collection of the National Museum of Korea. A 2006 examination by museum personnel assessed damage to the set and scientifically investigated its constituent materials. In 2007 and 2008, specialists from Korea and Japan jointly conducted further research to determine the best methods for the set’s conservation treatment and long-term preservation. The set originally comprised three components: a box, a cover, and a tray that fit inside the box. Nothing is known about the set’s provenance before its 1910 purchase by the Yi Royal Household Museum (predecessor of the National Museum of Korea). The set was already damaged at that time, but its three main components seem to have been intact. During the Korean War (1950-1953), the set suffered further damage such that it now exists only in fragments. In fact, the original appearance could only be surmised from illustrations in a book published during the Japanese colonial era (1910-1945). Both box and cover were decorated with designs created through the pyeongtal (Chinese, pingtuo) technique, in which small design elements cut from suitable materials are affixed to a lacquered surface, after which they are covered with additional coats of lacquer, which is polished to highlight the designs, once it has dried and stabilized. The technical research identified such key features as the box’s original shape, composition, and lacquer-varnishing technique, as well as the materials of its inlaid designs—mother of pearl, likely from abalone; tortoiseshell embellished with cinnabar and orpiment; and metal wire—and its gold paint (powdered gold in a binder, perhaps fish glue). The set was produced using the finest materials and the most advanced techniques of the day. The eight articles in this issue of the Journal of Korean Art and Archaeology shed new light on Korean history and culture, giving special emphasis to the Three Kingdoms period. The five articles on early Korea present detailed analyses of Silla tomb construction, crowns, and crown ornaments and also give an in-depth look at the generally less-well-known metalwork from the Baekje Kingdom, including the gilt bronze incense burner discovered in Buyeo in 1993. The two articles on arts of the Goryeo Dynasty treat lacquerware with decoration inlaid in mother of pearl and also the influence on Goryeo celadons of the arts of China’s Liao Dynasty. The one article on the Joseon Dynasty focuses on Dosando paintings, or “paintings of Dosan”, a subgenre of Joseon paintings that depicts the retirement retreat that Yi Hwang, one of Joseon Korea’s most prominent Confucian scholars, erected near Andong, and on the Joseon practice of designating specific sites as the nine bends of a particular area, following Zhu Xi and his poem Nine Bends at Mt. Wuyi. These articles significantly expand our understanding of Korean art and archaeology. Enjoy these articles and accord them the respect due important works that advance scholarship. Robert D. Mowry Senior EditorJournal of Korean Art and Archaeology Alan J. Dworsky Curator of Chinese Art EmeritusHarvard Art Museums
COPYRIGHT & LICENSE
- Robert D. Mowry(Alan J. Dworsky Curator of Chinese Art Emeritus, Harvard Art Museums)
This issue of the Journal of Korean Art and Archaeology features eight articles exploring Korean history and culture, with a focus on the Three Kingdoms period. Key topics include Silla tomb construction, crowns, and Baekje metalwork, including the renowned gilt-bronze incense burner. The influence of China's Liao Dynasty on Goryeo celadons and lacquerware is examined. One article discusses Dosando paintings depicting Yi Hwang's retirement retreat during the Joseon Dynasty. These studies advance our understanding of Korean art and archaeology.
- Ham Soon Seop(Director, Daegu National Museum)
This paper examines 55 Silla headband crowns with tree-shaped uprights from Korea, assessing their typological development from 356-654 CE. These crowns, believed to signify social status, followed three stages: prototype, standard, and regression. Their evolution is linked to shifts in symbolic systems, reflecting Silla's socio-political and religious changes, including interactions with neighboring regions and the adoption of Buddhism. Crowns varied by design, metal, and ornamental complexity, showing a progression in craftsmanship and stylistic expression over time.
- Gu Moon-gyoung(Associate Curator, National Museum of Korea)
The majority of Korean crowns and regalia from the Three Kingdoms Period are from Silla, with over eighty crowns discovered, most notably in Gyeongju and surrounding areas, dating to the 5th and 6th centuries. Crowns unearthed in regions beyond central control indicate local governance by the crown-wearers. The Yeongdong region, pivotal for Silla's expansion and maritime power, saw intense conflict before stabilization under Silla. Crown findings from this area suggest recognition of local leaders, possibly through central or local production. The region's few crowns, compared to others, show difficulty in forming large municipalities along narrow coastal areas. Silla crowns, such as one gilt-bronze crown from Gangneung, feature unique design elements, including uprights and band intricate with details and technical restoration revealing new insights. Bronze crowns, rare and distinct from other metals indicating political status, may relate to ritualistic roles, found in ritual-associated sites distant from the capital. The presence of crown ornaments matches crowns in number, serving symbolic roles. Some silver ornaments were discovered unassembled, suggesting possible ritual or regional significance.
- Lee Hansang(Professor, Daejeon University)
In 475 CE, Baekje faced collapse after Goguryeo forces attacked Hanseong, with King Gaero killed and his brother Munju taking the throne. Munju moved the capital to Ungjin, present-day Gongju. This period is highlighted by the Tomb of King Muryeong, discovered in 1971, which contained numerous artifacts and personal ornaments such as crowns, earrings, and shoes, indicating extensive metalwork skills. These artifacts, produced before 529 CE, reveal aspects of Baekje's society and trade networks. Baekje’s metalwork was affected by the capital move to Ungjin, recovering around the sixth century. The Tomb of King Muryeong, left untouched by robbers, showcases Baekje's craftsmanship and sheds light on its societal hierarchy and foreign relations.
- Park Kyungeun(Associate Curator, National Museum of Korea)
In 1993, a gilt-bronze incense burner was uncovered at an ancient Buddhist temple in Buyeo, Korea. Dating back to the late Baekje Dynasty (18 BCE-660 CE), this censer is regarded as a major archaeological find and is now a Korean National Treasure. Shaped like the mythical Mt. Baksan, it reflects Taoist influences and comprises three parts: a lid with a phoenix, a lotus-adorned bowl, and a dragon-shaped base. This article explores the symbolism of its motifs, linking them to Baekje's socio-political landscape and Taoist interpretations distinct from Chinese traditions.
- Choi Byung Hyun(Professor Emeritus, Soongsil University)
The current-day Gyeongju area was once the capital of the Silla Kingdom (57 BCE–935 CE). From the early sixth century, new burial types, specifically stone-chamber tombs with corridor entrances, replaced older wooden-chamber tombs with stone mounds, marking a shift in Silla burial traditions. This change coincides with key socio-political transformations, including Buddhism's adoption as a state religion. This study examines late Silla burial practices and stone-chamber tomb typologies to understand social hierarchies and the influence of burial traditions on regional communities. It highlights the hierarchical structure within tomb types, reflected through different ranks, construction techniques, and the distribution of tumuli groups, providing insights into the bone rank system and societal organization of the Silla Kingdom.
- Im Jin A(Associate Curator, National Museum of Korea)
Korean celadon-glazed stoneware, inspired by Chinese Yue wares, began in the Goryeo Dynasty (918-1392). By the 12th century, Goryeo celadon was distinct, featuring jade-green glaze and inlay decoration. While Northern Song's influence on Goryeo art is documented, the Liao Dynasty also played a role, though less studied. Political and cultural exchanges among Goryeo, Northern Song, and Liao impacted celadon production. Despite invasions, Goryeo engaged with both Northern Song and Liao, evident in trades and the Khitan Tripitaka. The exchanges evolved through Goryeo’s history, with Khitan artisans influencing Goryeo crafts, especially metalware and textiles, evident in shared motifs in ceramics.
- Yun Chinyong(Senior Researcher, The Academy of Korean Studies)
The paper explores the influence of Zhu Xi's Neo-Confucianism on Joseon literati, highlighting the admiration of his works such as the "Nine Bends at Mt. Wuyi." This led to the emergence of a nine-bends culture in Korea, particularly around Dosan, associated with Yi Hwang, a key scholar of the Joseon Dynasty. Dosando paintings, portraying Yi Hwang's retreat at Dosan, evolved to reflect nine bends, paralleling Zhu Xi's influence. Dosando and nine-bends culture were critical in cementing Yi Hwang’s scholarly legacy in Joseon.
- Yi Yonghee(Conservator, National Museum of Korea)
The National Museum of Korea houses a rare Goryeo lacquer incense box adorned with intricate mother-of-pearl and gold-painted designs, showcasing uniquely delicate artistry. Acquired in 1910, its origins remain a mystery. The box suffered damage during the Korean War, leaving only fragments. Advanced analytic techniques have been employed since 2006 to study its composition and preservation needs, revealing the box's elaborate decorative elements and construction. These include willow and duck motifs crafted from materials like mother-of-pearl, turtle shell, and twisted metal wires, accented with gold paint. Despite its poor condition, the incense box holds significant cultural value due to its advanced design and craftsmanship indicative of its era. Conservation efforts continue, exploiting the data for insights into Goryeo lacquerware restoration.