New Patterns of Goryeo Celadon Revealed, Uncovering Symbolic Meanings

Published 31 Aug.2021 11:03(KST)

The 23rd Academic Symposium Held at Goryeo Celadon Museum

An academic symposium titled "A Study on the Temporal Symbolism of Goryeo Celadon Patterns" was held at the Goryeo Celadon Museum in Gangjin-gun. / ⓒ Asia Economy

[Gangjin＝Asia Economy Honam Reporting Headquarters Reporter Kim Yong-su] On the 27th, an academic symposium titled “A Study on the Temporal Symbolism of Goryeo Celadon Patterns” was held at the Goryeo Celadon Museum in Gangjin-gun, Jeollanam-do.

According to the county on the 31st, this symposium was conducted in the form of presenting and discussing papers on Goryeo celadon patterns, which had not been extensively researched before.

Professor Kim Yoon-jung of the Department of Cultural Heritage Convergence at Korea University presented “The Emergence and Meaning of 12th Century Goryeo Celadon Featuring Auspicious Beasts,” Senior Researcher Lee Joon-kwang of the Leeum Museum of Art presented “The Meaning and Development of the Goryeo Celadon Banana Leaf Pattern (Pacho-mun),” and Curator Jo Eun-jung of the Goryeo Celadon Museum presented “The Religious Symbolism of the Goryeo Era Patterns Haeseokryuhwa (海石榴華) and Yong-ah-hyecho (龍牙蕙草).”

Professor Kim Yoon-jung explained that from the 12th century of Goryeo, celadon featuring auspicious beasts such as dragons, lions, iryong, gwiryong, hippocampus, seou, and phoenixes were frequently produced in royal Taoist rituals. These patterns not only symbolized Taoist meanings of immortality and peaceful reign for the king but also served as political expressions symbolizing the king’s benevolent governance and dignity.

Researcher Lee Joon-kwang stated, “The banana leaf (Pacho) was a cultural symbol shared by mid-to-late Goryeo literati, and generally, the composition and engraving techniques of the banana leaf pattern changed across the 12th, 13th, and 14th centuries.”

In the 12th century, the banana leaf was depicted pictorially using incised and iron-painted techniques, while in the 13th century, it tended to combine with other pattern elements using inlay techniques. Additionally, depictions of Taoist worlds and compositions combined with waterside landscape motifs were identified as unique features of Goryeo celadon.

Curator Jo Eun-jung revealed new research results clarifying that the patterns engraved on celadon tiles are Haeseokryuhwa and Yong-ah-hyecho based on the Taoist patterns of the Northern Song Dynasty’s “Yingzao Fashi,” symbolizing rebirth in the Pure Land and longevity without illness, respectively.

Furthermore, these two patterns were actively used in Buddhist art such as monk’s stupa inscriptions, incense kings, sutra copying, and Buddhist paintings in Goryeo society, and their influence extended to celadon production.

During the comprehensive discussion session, chaired by Professor Lee Jong-min of the Department of Archaeology and Art History at Chungbuk National University, designated discussants included Curator Park Ji-young of the National Intangible Heritage Center, Curator Lee Myung-ok of the National Maritime Cultural Heritage Research Institute, and Investigator Kim Gwi-han of the Institute of Korean Cultural Heritage, who participated in discussions on the three presentations.

This symposium attracted attendees’ interest as the first academic event analyzing and exploring the symbolism of Goryeo celadon patterns.

Mak Guk-jin, director of the Goryeo Celadon Museum, said, “This was an event where new research results were presented that allow the general public to easily understand Goryeo celadon. In particular, regarding the Haeseokryuhwa and Yong-ah-hyecho patterns engraved on celadon tiles, we are holding a special exhibition titled ‘Reading Goryeo through Patterns, Yong-ah-hyecho Haeseokryuhwa’ at the museum’s special exhibition hall until November 28, and we hope many will visit.”