Seladon Goryeo: Famous Ceramics of Medieval Korean Art

The precise and delicate craft of making celadon pottery in Korea from the 10th to the 14th century resulted in timeless pieces of art that are still admired today. They were created using a jade green glaze over carefully engraved inlay, which was the pinnacle of technological advancement at the time.

Although celadon wares have a practical purpose, they are more than functional objects used in everyday life, they provide insight into the lives of those in power as well as trade and craftsmanship during the Koryo (918-1392) dynasty.

The political upheavals of the late Three Kingdoms period (889-935) led to the fall of the ruling Silla kingdom. The rebel ruler Wang Gyeong eventually proclaimed himself king and attempted to return the peninsula to the glory days of the previous state of Koguryeo (37-668).

Despite the change of the ruling aristocratic family, the power structure repeated the previous one: a centralized government headed by a monarch. This government ruled a largely peasant society that also included skilled artisans. There were also slaves, and there was little social maneuverability within this system.

Members of the royal court were major patrons of art and culture, and the number of luxury goods in circulation increased. As a result, master ceramists, in particular, sought to create exquisite objects that could satisfy wealthy patrons. Also Buddhism was the dominant religion, and this led to the creation of detailed paintings with Buddhist scenes.

The celadon technique was originally imported from China - by the Song dynasty in the south (960-1279) and the Liao dynasty in the north (907-1125) - around the 10th century, due to political, economic, and cultural ties between the two countries. The first pieces of celadon and other ceramics made in the early Goryeo period were tea ware, created to meet the demand for other imports from China.

Interest in tea culture increased the demand for items related to it. It was popular among royalty and aristocracy who used tea ceremonies to entertain in different places.

Artisans created various objects for use in tea culture. Although the celadon technique was originally imported from China, Korean artisans adapted it by changing the firing process. There was a demand for items mainly utilizing Korean techniques for the cultural sphere adapted from China.

In Goryeo times, there were two types of stoves: brick stoves and earthen stoves. Brick kilns were more durable and reliable, while earthen kilns were simpler and cheaper. Celadon was mainly produced in brick kilns, following techniques imported from China. Earthen kilns were an adaptation of this method.

Goryeo-era celadon is known for its jade-green hues, which make it particularly famous in the history of Korean art. This effect is achieved by applying a very thin glaze that encases thousands of tiny air bubbles. Previously, ceramics were fired with only one glaze. Unlike its predecessors, Goryeo-era celadon was glazed and fired twice.

Control of oxygen in the kiln was central to this technique. In earthen kilns, the amount of oxygen was minimized as long as the kiln was airtight. By demanding more oxygen, the fire stripped the glaze of copper, which gave the pottery its characteristic coloration.

The firing method is only the beginning when it comes to Goryeo-era celadon. The methods of decoration were varied and produced designs that were as impressive as the glaze. First, there was a simple painting technique in which designs were applied to the surface of the celadon. Decorations were also carved into the surface with a knife or mold. Finally, the most complex was the inlay technique, in which engraved patterns were filled with slip, also known as sangam.

Two techniques were used to create relief patterns. The first was to carve the surface of the piece with a knife, and the second was to create a mold. The relief pattern did not require skilled craftsmen, so celadon made in this way was inexpensive and effective.

The use of copper became popular towards the end of the Goryeo period, which emphasized various patterns. Sometimes gold was also used in celadon wares.

Floral patterns prevailed. The most common pattern was the lotus, whose petals were carved from a piece of celadon, birds were also often used as ornaments, especially cranes. Along with natural motifs, geometric patterns such as hexagons and waves were popular.

The type of glaze also influenced the design of the celadon. There was the craquelure glaze, in which small, deliberately made cracks gave texture. Another option was a smooth glaze that emphasized the shape and patterns of the piece.

Many different objects were made in the celadon style, including bowls, caskets, kundiks (ritual jars) and incense burners. The most significant and defining object of the celadon style is the maebeong form, a tall curved vase.

Many shipwrecks have been discovered off the west coast of Korea, and they continue to be found to this day. Thanks to these shipwrecks, archaeologists have concluded that much of the celadon was transported by ship along the waterways. Especially popular was the route to the capital city of Gaesong, where celadon was delivered as a tax payment (or tribute) along with rice. However, there is also evidence of overland routes to China, where celadon was adapted to Chinese tastes. Celadon has also been found by archaeologists in Japan.

At the beginning of the Goryeo period, celadon production was established in Kaesong in the north, and by the end, in Gangjin in the south. Gangjin, in particular, was an ideal center for production because it had many natural resources needed for production, such as clay.

The delicate and intricate nature of celadon patterns shows the importance of refinement to the Goryeo elite, as well as the development of Korean art at that time. The Goryeo court was at the helm of affairs, having special kilns to make exclusive items. They invested heavily in the production of celadon, as evidenced by their skillful patterns.

The technological and artistic innovations of Goryeo celadon were particularly impressive. At this time, the inlay technique, sangam, was perfected, emphasizing the skill of Korean ceramists. It went beyond the technique that had come to the peninsula in the early Goryeo period from China and became a craft in its own right.

The technical skill of Goryeo-era celadon survived into the Joseon period (1392-1910), laying the foundation for future ceramic production. Although Joseon-era ceramics are known for their simplicity, their development was certainly influenced by Goryeo-era celadon.

Today, Goryeo ceramics have become a symbol of Korean artistic identity and national pride. It is displayed in art museums around the world and continues to influence Korean artists, especially ceramists, today.