TRADITIONAL CRAFTS

Metalcraft

Korea's metalcraft culture dates back to the Bronze Age in the 6th or 5th centuries B.C. A wide variety of bronze relics have been recovered around the country Of note are the Liaoning-type bronze swords first made in China in the 7th or 8th century B.C. and introduced to Korea in the fifth or sixth century These swords were fitted with separately molded blades and hilts. By the 4th or 3rd century B.C, another bronze sword modeled after the Liaoning-type was developed in Korea. The most common of the bronze age artifacts found in Korea this "slender bronze sword'1 was later introduced to Japan.

In recent years, an increasing number of bronze implements have been excavated, the majority from stone cists. Among the major finds are bronze swords and sword hilts made separately to be joined together. The hilts are generally bamboo-shaped, and some have decorated pommels. Few hilts or decorated pommels have been reported from the early age of the "slender bronze swords," however. On occasion, iron swords from the early iron period (ca 300 B.C-0) have been found together with "slender bronze sword" hilts and decorated pommels.

Bronze spearheads have been reported from the latter part of the "slender bronze sword" period, although it is difficult to trace their origin. Bronze dagger-axes consisting of a long wooden handle attached at right angles to a blade were important weapons during the Chinese Shang (ca.16th century B.C.-1027 B.C.) and Zhou (1027-221 B.C.) periods and seemed to have inspired Korean imitations at a later date. Animal-shaped bronze buckles showing a strong influence from the bronze culture of northern Eurasia have been discovered in North Kyongsang Province. The buckles consisted of a round or oval ring attached to a bar sticking out from the breast of the animal ornament. Metalcraft reached a new level of sophistication during the Three Kingdoms period (1st century B.C-7th century A.D.) as evidenced by the relics recovered from tombs dating to that period. Only fragmentary objects remain from most Koguryo and Paekche tombs because their stone or brick chambers were vulnerable to pillage, but the Silla tombs, great stone mounds, have produced a wealth of archeological evidence Koguryo metalcraft was influenced by Chinese metalcraft as well as the unique character of the Koguryo people accustomed to a severe climate and nomadic lifestyle. Paekche artisans, on the other hand, produced works characterized by moderation and elegance, reflecting their kingdom's mild climate and fertile land. The Tomb of Paekche King Munyong (r .501-523), discovered in 198L is a rich archaeological treasure of more than 3,000 burial objects including personal ornaments in gold and silver, weapons, a variety of vessels, and bronze mirrors. Many of these objects reflect a strong Chinese influence, and the gold ornaments used in royal head-dresses, earrings, silver bracelets, necklaces, and the like are more refined than those made in Koguryo or Silla

Most of the extant metalware of any importance comes from Silla tombs. Silla artisans created many art objects of great delicacy and elegance. In Silla tombs, a wooden coffin was placed in a pit or wooden chamber and boulders were piled over it to form a mound which was then covered with earth. Since the wooden coffin and chamber decomposed as time passed and the boulders and earth mound collapsed around them, it was impossible to make additional burials or re-enter the tomb. Thus, the contents of Silla tombs were relatively well preserved.

The gold crowns discovered in Silla tombs represent the finest in Silla metalcraft. One such crown, National Treasure No. 87, dating back to the 5th or 6th century, is composed of two parts an inner and an outer crown. A forked gold piece symbolizing the feathers of a bird stems from the inner crown and slants slightly backwards. Across the front of the outer crown are upright tree-shaped ornaments, and at the back are row antler-shaped uprights. A string of pendants hangs from each side near the front of the crown. The inner part of the crown is decorated in an open latticework of various patterns The crown is further festooned with gold beads and comma-shaped pieces of jade, fitted with intricately carved gold caps, attached with gold wire.

Gold girdles were almost always found together with Silla gold crc,wns. The openwork links were fastened to a leather or cloth belt with tiny nails to form a girdle from which ornamental pendants were hung. Earrings, pendants and rings were also buried in the tombs. Most of the necklaces are of jade or gold with a few exceptions, such as the crystal necklace from Kumnyong-chong Tomb. The bracelets are round and have sawtooth designs on the outside. Some are solid and others are hollow.

The Kaya Kingdom, a federation of six tribal states along the lower Naktong River on the southeastern tip of the Korean peninsula (A D. 421-562), developed its own culture that is just nc,w being uncovered. A beautiful example of Kaya metalcraft is National Treasure No. 138, a crown cut from a thin sheet of gold. Four floral uprights stand at equal intervals around the wide headband, and the crown itself is decorated with round gold spangles. Comma-shaped pieces of jade are attached at equal intervals around the headband.

Metalcraft flourished with the introduction of Buddhism to Korea in A.D.372 as ritual implements, such a temple bell$ gongs, incense burners, water sprinklers, sarira cases and the like were in great demand. The oldest extant bell is the bronze bell at Sangwon-sa Temple cast in 725 during the reign of King Songdok. The largest bell, measuring 3.33 meters, was also cast at that time and is named for King Songdok. Silla and Koryo bells are characterized by: dragop-shaped hooks and sound pipes at the top of the bells; decorated bands around the shoulder and bottom of the bells; four panels of nipple-like protuberances just below the shoulder; and relief decorations and striking points on either side of the bells.

During the Koryo period, many Buddhist bells were smaller than those of Silla. The diameter of the mouth of the bell was relatively large, and the designs degenerated from those of the Silla period. Choson period bells are distinguished by a horizontal band around the middle of the bell and no bands at the shoulder or bottom.

Silla craftsmanship is exemplified by the ornate gold and gilt-bronze cases used to house sarira, the calcified remains of holy persons after cremation. These cases, or reliquaries, were enshrined in pagodas as the object of religious worship during the Silla period and were also common during the Koryo and Choson periods. Often the sarEra cases resembled small houses with miniature railings, ornate roof decorations, and tiny figures standing guard or playing musical instruments on the veranda.

Any discussion of traditional metalcraft would not be complete without mentioning the development of metal printing as early as 1240 in the Koryo period, 200 years before Gutenberg's Bible.

During the Choson period, ornamental knives were a popular accessory used for decoration and occasional use. Men hung knives from their belts, and women carried them in their purses or wore them hanging from woven strings attached to their gowns. Originally these knives were intended for personal protection, especially for the protection of a woman's chastity The knife handles and sheaths were generally made of wood, ox-bone, coral, gold or silver, and the blades were made of steel hardened by heating and pounding. A silk cord with decorative knots was generally attached to the sheath for decoration.

Glass and Curved Jade Silla tombs have produced a number of beautiful examples of glass and curved jade pieces. Glass, jade, agate, crystal, and pure gold were made into curved ornaments to be hung on gold crown$ pendants and necklaces. Several glass vessels have been excavated from the major Silla tombs. In the past, all glasswares were believed to be imported, but research may prove that these glass pieces were made in Korea as glass workshop sites and other evidence indicates that there were some domestic glass-producing operations Woodcraft Korean furniture is unique for its simple, sensitive designs, compact forms, and practicality, all emanating from the Korean custom of sitting and sleeping on the floor. Choson woodcraftsmen were famous for their attention to detail and the blending of practicality and beauty. The use of glue and nails was avoided whenever possible by fitting carefully cut parts together. The natural grain and texture of the wood was considered an important decorative element. Wood was polished with oils to maximize the natural grain of the wood. Paint was not used. Metal hinges and ornaments were used on chests and other wooden furniture as a means of structural reinforcement and decoration. White bronze, bronze, copper, and iron were most frequently used for hinges, padlocks and decorations. Iron ornaments blackened with perilla oil and soot were favored for their simplicity and practicality. Lacquerware Lacquerware inlaid with mother-of-pearl dates back to the Silla period, and Chinese accounts refer to a highly developed lacquerware culture during the Koryo period. During the Koryo Kingdom, a special lacquerware studio was established in 1272 to produce mother-of-pearl inlaid cases to hold the woodblock-printed manuscripts of the Tripitaka Koreana, the collection of Buddhist texts Koryo lacquerware was generally decorated with dainty mother-of-pearl chrysanthemums and other floral patterns. Tin or bronze wire was used to depict the vines, and sometimes pieces of thinly sliced turtle shell, tinted yellow or red, were used for variety. Toward the end of the Koryo period, lacquerware designs became bolder, larger and less dainty. A variety of larger patterns depicting peonies, grapes, phoenix and bamboo took the place of the delicate floral patterns of the earlier period. Hwagak The term bwagak refers to a uniquely Korean woodcraft in which ox horn is applied to chests, boxes and small accessories. The origins of this craft are uncertain but it has been traced back to the development of mother-of-pearl in the Koryo period and has long been popular, especially for decorating women's quarters. In hwagak ox horns are boiled to remove their inner cartilage, thinly sliced and ironed flat. The slices of horn are then polished until translucent. Bright pigments mixed with glue made from ox hide are applied to the slices of horn which are then glued onto the wooden surface sainted side down. These traditional crafts have played an important role in Korea's culture, reflecting the Korean people's sense of form, aesthetics and workmanship. With Korea's opening to the West in the late 19th century, however, there have been radical changes in lifestyle and values, and as a result, the demand for traditional crafts has declined dramatically. In response to the decline in traditional crafts, the National Assembly passed the Law for the Production of Cultural Properties in 1%2. Under this law, many traditional handicrafts, as well as music, folk art and dances, were designated Intangible Cultural Assets. At the same time, an effort to locate and recognize artisans skilled in traditional crafts was launched. These "Living National Treasures" have since been provided with direct and indirect government support so as to sustain the artisans themselves and train young people to perpetuate these unique traditions for future generations.

Glass and Curved Jade

Silla tombs have produced a number of beautiful examples of glass and curved jade pieces. Glass, jade, agate, crystal, and pure gold were made into curved ornaments to be hung on gold crown$ pendants and necklaces. Several glass vessels have been excavated from the major Silla tombs. In the past, all glasswares were believed to be imported, but research may prove that these glass pieces were made in Korea as glass workshop sites and other evidence indicates that there were some domestic glass-producing operations

Woodcraft

Korean furniture is unique for its simple, sensitive designs, compact forms, and practicality, all emanating from the Korean custom of sitting and sleeping on the floor. Choson woodcraftsmen were famous for their attention to detail and the blending of practicality and beauty. The use of glue and nails was avoided whenever possible by fitting carefully cut parts together. The natural grain and texture of the wood was considered an important decorative element. Wood was polished with oils to maximize the natural grain of the wood. Paint was not used. Metal hinges and ornaments were used on chests and other wooden furniture as a means of structural reinforcement and decoration. White bronze, bronze, copper, and iron were most frequently used for hinges, padlocks and decorations. Iron ornaments blackened with perilla oil and soot were favored for their simplicity and practicality.

Lacquerware

Lacquerware inlaid with mother-of-pearl dates back to the Silla period, and Chinese accounts refer to a highly developed lacquerware culture during the Koryo period. During the Koryo Kingdom, a special lacquerware studio was established in 1272 to produce mother-of-pearl inlaid cases to hold the woodblock-printed manuscripts of the Tripitaka Koreana, the collection of Buddhist texts Koryo lacquerware was generally decorated with dainty mother-of-pearl chrysanthemums and other floral patterns. Tin or bronze wire was used to depict the vines, and sometimes pieces of thinly sliced turtle shell, tinted yellow or red, were used for variety.

Toward the end of the Koryo period, lacquerware designs became bolder, larger and less dainty. A variety of larger patterns depicting peonies, grapes, phoenix and bamboo took the place of the delicate floral patterns of the earlier period.

Hwagak

The term bwagak refers to a uniquely Korean woodcraft in which ox horn is applied to chests, boxes and small accessories. The origins of this craft are uncertain but it has been traced back to the development of mother-of-pearl in the Koryo period and has long been popular, especially for decorating women's quarters.

In hwagak ox horns are boiled to remove their inner cartilage, thinly sliced and ironed flat. The slices of horn are then polished until translucent. Bright pigments mixed with glue made from ox hide are applied to the slices of horn which are then glued onto the wooden surface sainted side down.

These traditional crafts have played an important role in Korea's culture, reflecting the Korean people's sense of form, aesthetics and workmanship. With Korea's opening to the West in the late 19th century, however, there have been radical changes in lifestyle and values, and as a result, the demand for traditional crafts has declined dramatically.

In response to the decline in traditional crafts, the National Assembly passed the Law for the Production of Cultural Properties in 1%2. Under this law, many traditional handicrafts, as well as music, folk art and dances, were designated Intangible Cultural Assets. At the same time, an effort to locate and recognize artisans skilled in traditional crafts was launched. These "Living National Treasures" have since been provided with direct and indirect government support so as to sustain the artisans themselves and train young people to perpetuate these unique traditions for future generations.