These shards of a maebyeong excavated from the kiln site in Sadang ri in Gangjin, Jeollanam-do Province have been pieced together. At that time, dragons were a symbol of supreme power, and the use of the motif was strictly managed to the extent that it was prohibited on clothing and objects used outside the court.

 

▲ Incense Burners with Taotie, Goryeo dynasty, 12th century, excavated from Gaeseong si, Gyeonggi-do. [photo by Rachel Bae]

 

The Goryeo dynasty embraced the systems developed by the Song dynasty in China when it was establishing its own ritual systems. A wide range of books related to the proprieties, including the Xuanhe bogo tu (Illustrated Record of Antique Objects Collected during the Xuanhe Era), was introduced and versions of the ancient Chinese bronzeware featured in these books were made in celadon.

▲ Lobed Vase, Goryeo dynasty, 12th century, excavated from Jangneung a tomb attributed to King Injong, National Treasure [photo by Rachel Bae]

 

Highly refined base clay and glaze were used, and the surface displays a smooth texture, high sheen, and subdued jade green hue. It provides a clear demonstration of the dignity of the jade green celadon used at the Goryeo royal court.

▲ Incense Burner, Goryeo dynasty, 12th century, excavated from Gaeseong-si, Gyeonggi-do, National Treasure [photo by Rachel Bae]

This is a masterpiece that allows viewers to appreciate the remarkable artistry of Goryeo celadon. This piece was made by employing all the celadon decorative techniques in use at the time including incising, relief carving, openwork, inlaying, attaching, and modeling. It is comprised of a globular lid decorated with openwork, a lotus blossom-shaped body, and a pedestal. These different forms were organically combined to produce a high-quality sculptural piece.

 

 

▲ Dragon-Carp shaped Ewer, Goryeo dynasty, 12th century, National Treasure [photo by Rachel Bae]

The round body seems to display tension to the point it is about to burst. It is patterned with scales that were carved by angling the tool so that glaze would concentrate in the designated areas and highlight the three-dimensionality. The elaborate visualization of an imaginary animal demonstrates the outstanding creativity and production technology available at the time.

 

 

▲ Pomegranate-shaped Ewer, Goryeo dynasty, 12th century , excavated from Gaeseong-si, Gyeonggi-do [photo by Rachel Bae]

This ewer takes the form of a pomegranate stacked on a layer of three other pomegranates into a pyramidal structure. The body features a handle in the shaped of a curved pomegranate branch and a spout modeled after a pomegranate blossom. This ewer demonstrates highly sophisticated formative aesthetics pursued during the Goryeo dynasty characterized by composing the elements of functional pieces to mirror natural forms.

 

 

▲ Bowl with Chrysanthemum Scroll, Goryeo dynasty, 12th-13th century, excavated from the tomb of Mun Gong-yu(?-1159), National Treasure [photo by Rachel Bae]

 

This bowl is recorded as having been recovered together with an epitaph tablet from the tomb of a civil official named Mun Gong yu who passed away in 1159. It has been considered the oldest inlaid celadon with a known production period. Recently, however, comparisons with celadon uncovered from Jireung (the tomb of King Myeongjong) and Golleung (tomb of Queen Dowager Wondeok (?-1239)) have suggested that the bowl was actually produced in the 13th century.

▲ Ewer and Stand with Grapes and Boys, Goryeo dynasty, 13th century, excavated from Gaeseong-si, Gyeonggi-do [photo by Rachel Bae]

Copper underglaze can be applied in desired areas for a decorative effect. This is different from coating an entire vessel with copper pigment. Some of the grapes were painted with copper oxide to highlight their ripeness. This piece is characterized by the harmony between the elegant curves displayed in the form and the use of copper pigment.

 

 

▲ Maebyeong, Vase with Plum Blossoms, Bamboos and Cranes, Goryeo dynasty, 12th-13th century, Treasure [photo by Rachel Bae]

This vessel with its lyrical and elegant atmosphere is characterized by a relaxed spatial arrangement and inlaid designs executed in a delicate manner as if painted with a brush. Inlaid celadon such as this example was mainly produced in Yucheon-ri in Buan, Jcollabuk-do Province.

 

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