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300–1 bc) bronze- and iron-working centres were established in Korea. Bronze daggers, mirrors, and perforated pole finials, all ultimately of Siberian origin, were cast. The daggers are of the type widely used by the Scythian peoples of the Eurasian steppe. The mirrors were also of a non-Chinese type, with twin knobs placed a little off centre against a tightly composed, geometric design made up of finely hatched triangles.
Gold crown, c. 500 ce (Silla period), from the North Mound of Tomb 98, the Great Tomb at Hwangnamdong, Kyŏngju, South Korea; in the Kyŏngju National Museum. Height 27.5 cm.
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Metalwork was one of the most developed mediums of the decorative arts in the Three Kingdoms period. Kings and high-ranking officials wore gold or gilt-bronze crowns and diadems and also adorned themselves with earrings, necklaces, bracelets, and finger rings made of gold, silver, bronze, jade, and glass. The best surviving pieces of jewelry and regalia come from intact Silla tombs. Only five gold crowns, coming from five Kyŏngju tombs, had been discovered by the early 1990s (several more have been found since then). One of the most elaborate, discovered in 1921 in the Tomb of the Golden Crown, consists of an outer circlet with five upright elements and a separate inner cap with a hornlike frontal ornament. It is made of cut sheet gold, and three of the frontal uprights are trees done in a highly stylized manner, flanked by two antler-shaped uprights. Numerous spangles and crescent-shaped pieces of jade (
) are attached to the vertical elements by means of twisted wire. The worship of trees and antlers was almost universal among ancient peoples of central and northern Asia, where the Koreans of the Three Kingdoms originated. A diadem similarly adorned with miniature stags and trees was discovered in a Sarmatian tomb on the northern shore of the Black Sea. (The Sarmatians also had migrated out of northern and central Asia.)
Bell of King Sŏngdŏk, bronze, 771 ce , Unified Silla period; in the Kyŏngju National Museum, Kyŏngju, South Korea. Height 3.33 metres.
Bowl, Korea, Goryeo Dynasty (9181392), Culture: Korea, Silver, H. 1 1/2 In. (3.8 Cm); W. 4 1/2 In. (11.4 Cm); D. 2 3/4 In. (7 Cm), Metalwork.
Bronze work was outstanding in this period, especially the large bronze Buddhist bells. Four Unified Silla bells with inscribed dates survive, two of which are in Japan. A Korean bell of this period differs from a Chinese or Japanese example by the hollow cylindrical tube erected on the crown, alongside the traditional arched dragon handle, and in the surface decoration: the upper and the lower rims of the body are each surrounded by an ornamental horizontal band. Silla skill in casting is best seen in the colossal bronze bell of King Sŏngdŏk that was made in 771 for the Pongdŏk Temple and is now in the Kyŏngju National Museum. Its surface contains a relief of two flying angels, a superb example of Unified Silla sculpture. An inscription of some 830 characters praises the achievements of King Sŏngdŏk and expresses wishes for peace. The resounding tone of the bell is unique and carries for miles. Legend has it that this peculiar sound comes from the cry of a child thrown into the melting bronze in the process of casting.
(containing the sacred ashes of Shakyamuni Buddha). These were sometimes placed inside stone pagodas. The best example, from the western pagoda of the Kamŭn Temple site, is a square platform on which a miniature glass bottle containing the
Is placed under a rich canopy supported by four corner poles. The shrine was encased in a square outer box with a pyramidal cover, each panel of the box adorned with a bronze relief figure of one of the Four Guardians. Toward the end of the Silla period, bronze seems to have been in short supply, and statues were cast in iron.
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Bronze temple bells continued to be cast during the Koryŏ period, but they gradually were reduced in size, and the craftsmanship showed a remarkable decline from the previous period. A Koryŏ bell is distinguished by the outer edge of the crown, which characteristically is marked by a band of lotus petals that projects out obliquely. Images of outlined Buddhas and bodhisattvas around the trunk replaced the earlier flying
Important among the Koryŏ bronzes is a series of beautifully finished incense burners still treasured by many temples. These censers look like enlarged mounted cups with deep bowl-like bodies, the mouth rims of which flare out horizontally to form a broad brim. The body is mounted on top of a conical stand with graceful concave side lines. The surface of the vessel is always covered with fluent, linear floral patterns or animated dragons inlaid with silver, which stand out strikingly against the shining black patinated background. Also treasured is the bronze
, a ritual ewer with flowing linear designs of willow tree and waterfowl inlaid in silver (in the National Museum of Korea, Seoul). The same techniques and decorative motifs also were used for making the artistically outstanding bronze mirrors typical of the Koryŏ period.L4884/1 Bowl, oxidised steel/silver / gold / bronze / ‘odong’ in ‘choum ibysa’ technique, made by Joungmee Do, Melbourne, Victoria, Australia, 1999 L4884/2 Bowl, oxidised steel/silver / gold / bronze in ‘choum ibysa’ technique, made by Joungmee Do, Melbourne, Victoria, Australia, 1999 . Korean metal craft publication of PHM objects
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The art of metal crafting has a long history in Korea. Since the production of the ‘Korean style slender dagger’ in the 10th century BCE, Koreans have demonstrated an aptitude for sophisticated and exquisite metalworking techniques. As Buddhism spread (Three Kingdom period and Goryeo dynasty, 67BCE-1392CE) and Confucianism took hold (Joseon dynasty, 1392-1910), metalcraft flourished, resulting in the production of highly ritual objects and many beautiful and practical items for daily life.
In contrast to other parts of Asia, Korean artists have tended to favour metal over other materials. Concerning ‘table culture’, for example, the Chinese have traditionally used white porcelain spoons and the Japanese, lacquered wooden chopsticks while the Koreans have long preferred thin metal chopsticks. This well illustrates the ways metal was valued at even the most basic levels of everyday life and consequently, why Koreans have excelled in its production.
The legacy of this tradition is clearly evidenced in the works of Korean contemporary artists both working in Korea and abroad. One example is Joungmee Do who is amongst the most prominent metal artists based in Australia. Joungmee studied at Kookmin University in Korea and came to Australia in 1997, attaining her Master of Fine Arts in the Gold and Silversmithing Department at RMIT University in Melbourne. Joungmee uses a traditional Korean metal working technique called
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(chiselled inlay) to create innovative and contemporary designs. Yet, her work reflects one of the most significant aspects of traditional craftsmanship known as ‘spirit of
Is a Korean word used in a similar way to the English term ‘artisan’, ‘craftsman’, or ‘master’. In Korea traditionally, people who devoted themselves to a particular profession throughout their lives, or mastered a particular skill to become masters of that profession, were called
Believed in setting high moral standards in their profession and the goods they made were not necessarily created simply to satisfy clients or the public. Instead, their products were considered to be their ‘other-self’ as they were made with their soul and devotion. One of the most important qualification for being a
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, acquiring skill is a meditation, a cultivation of himself or herself to enter a state of complete absence of ego. In artworks produced through highly developed skill one can often sense a powerful aura, even though the works may be simple and not elaborately decorated.
Is a traditional Korean inlay technique, which involves chiselling the entire surface of the body of the work before inlaying it with silver wire as decoration. The surface is chiselled four times in different directions: parallel, vertically, and diagonally in both directions. Silver wire is ‘sewn’ into the chiselled surface using a small hammer. The tracery of chiselling on the surface gives a beautiful texture not unlike that of velvet and the decoration of silver wire resembles embroidery. The technique is labour intensive, and the chiselling must reflect the fineness of the silver wire to be used in the work. If the silver wire is 0.15 mm thick, the chiselling required for one centimetre amounts to 60 to 70 hammer blows. For an area of one centimetre square, the chiselling and inlaying would require approximately 350 hammer blows.
In my work. It takes so much time to finish one piece and requires diligent practice to maintain my dexterity. If I don’t practise even for a day, my hands tell me I have been lazy. Even if I’m not making particular pieces, I still need to practise chiselling to avoid losing the flexibility of my hands. However, I must admit that I like doing this as when I concentrate, I forget all the burdens of life.’ Joungmee’s contentment is obvious as she sits at her work desk and ‘sews’ silver wire into the metal surface. Her practice has all the appearance
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