The Metal Technology Born from the Yearning for the Divine... Refined Korean Ancient Art Blossomed

Visiting Hoam Museum's 'Metal Exhibition'
From Prehistoric Bronze Mirrors to Modern Sculptures
A Comprehensive View of the Development of Korean Metal Art

Shaman's Ritual Tool 'Danyusemumgyeong'
Metal Style Designed for Absolute Existence
'Gaya Gold Crown' from 5th-6th Century
Showcasing the Essence of Ancient Korean Metallurgy

Buddhism's Major Influence on Metal Art Development
Miniature of Buddhist Flagpole 'Yongdubodang'
Revealing Architectural Styles of the Era

Lee Ufan's 'Iron, Stone' & Seo Doho's 'Our Country'
Modern Art

A view of Hoam Art Museum in Yongin-si, Gyeonggi-do.

[Asia Economy Reporter Donghyun Choi] About 2,400 years ago, during the late Bronze Age on the Korean Peninsula, the bronze mirror known as ‘Danyusemungyeong’ became popular. It was not used for reflecting faces but served as a ritual tool for priests, reflecting light to connect natural gods and humans. The value of a mirror lies in the reflective power of its front surface. However, the true essence of the ‘Danyusemungyeong’ appears on its back. It is filled with geometrical lines and patterns engraved with such precision that it looks as if designed by a computer. Some have over 10,000 lines spaced 0.3 mm apart. These patterns symbolize sunlight. Korean ancient art began here, born from faith in invisible beings and the ultra-precise metalworking techniques honed through this belief.

Danyusemumgyeong, a bronze mirror made during the Bronze Age on the Korean Peninsula in the 4th to 3rd century BCE. (Photo by Hoam Museum of Art)

An exhibition showcasing the development of Korean metal art from ancient times to the present is currently held at the Hoam Art Museum in Yongin, Gyeonggi Province, which reopened last month. The theme is ‘Metallurgy: Great Wisdom,’ featuring 45 pieces including five national treasures and two treasures. The exhibition carefully selects key works to clearly illustrate how Korean metal art began and the flow of its succession, from prehistoric bronze mirrors to modern sculptures.

Upon entering the museum, visitors see a video showing bright red lava melting and solidifying gray rocks repeatedly. This work, titled ‘Air of the Earth,’ by contemporary artist Kim Suja, was filmed at an active volcano in Guatemala. It deals with the natural law of creation and destruction repeating endlessly.

Metal was born from humanity’s process of overcoming nature through earth, fire, and water. The exhibition’s title, ‘Metallurgy,’ reflects this context. ‘Metallurgy’ encompasses all processes from ore mining to metal extraction, refining, and shaping for intended use. Humanity did not use metals obtained from nature merely as simple tools for daily life. Instead, various metal forms were devised to represent invisible absolute entities or abstract values such as nature, authority, and religion.

The 'Gaya Gold Crown' made in the 5th to 6th century. It measures 11.5 cm in height and 20.7 cm in diameter.

While the ‘Danyusemungyeong’ embodies the meaning of nature worship, the ‘Gaya Gold Crown,’ which shines especially brilliantly at the entrance of the exhibition, symbolizes the shift of that focus to humans, specifically kings. This gold crown, made in the 5th to 6th centuries, is the only perfectly preserved Gaya gold crown in Korea. Using pure gold and jade, the most precious materials at the time, intricate metallurgical techniques were applied to create the crown and gold ornaments adorned with elaborate decorative patterns. Lee Kwang-bae, chief curator at Hoam Art Museum, explained, “This piece holds the essence of ancient Korean metallurgy. Its appearance is influenced by Scythian styles, reinterpreting the northern splendor with Gaya’s simplicity.”

Metal art grew most rapidly with the introduction of Buddhism to the Korean Peninsula. Buddhism had a profound impact on the development of metal art throughout all periods since the Three Kingdoms era, with about 80% of Korean ancient art being Buddhist art. The Buddhist theme in this exhibition allows visitors to feel how metallurgy transformed when it met religion.

'Cheoljo Yeorae Jwasang', a seated iron Buddha statue made during the Goryeo Dynasty in the 10th century.

Yongdu Bodang made in the 10th to 11th century during the Goryeo period. It is the only miniature of a danggan preserved from the Goryeo era and is designated as National Treasure No. 136.

The ‘Iron Seated Buddha’ made during the 10th-century Goryeo Dynasty evokes a mysterious aura with its rough iron surface and dark tone contrasting with the compassionate expression of the Buddha. The ‘Dragon Head Banner’ from the same period is the only surviving miniature of a Buddhist banner pole from the Goryeo era and is designated National Treasure No. 136. The curator emphasized, “At that time, dragons and phoenixes were mainly used as sculptural forms to uphold faith. This precious piece also provides insight into stone sculpture and architectural styles of the period.”

Korean metal art has developed in various forms, from casting bronze, iron, and gold to intricate decorations. This tradition influenced diverse art forms such as lacquerware with mother-of-pearl inlay during the Three Kingdoms period, Goryeo celadon, and Joseon white porcelain. The tradition of metallurgy continues into modern times, permeating almost all areas of art including painting, sculpture, and architecture, creating a unique Korean aesthetic and style.

'Seonlimwon Bell' restored by Won Kwangsik, a national intangible cultural heritage master blacksmith. The 'Seonlimwon Bell' is a representative bell from the Silla period that was destroyed during the Korean War.

At the innermost part of the exhibition, visitors can see the ‘Seonlimwon Bell,’ a bronze bell made by National Intangible Cultural Property master foundryman Won Kwang-sik, which represents the fusion of traditional and modern metal art. The original Seonlimwon Bell, a representative bell of the Silla Dynasty, was damaged by fire during the Korean War. It was restored by Won Kwang-sik in 2005. Underneath the bell lies the casting sand used to make the outer mold, symbolizing the birth of a great artwork from the rough earth of nature. The sound of the bell quietly fills the exhibition space.

Do Ho Suh's 'Our Country'. Over 23,000 human figures made of metal are depicted as a map.

The exhibition also features works by contemporary art masters, a planning approach not previously attempted at Hoam, which has mainly showcased ancient art. Representative works include Lee Ufan’s ‘Relatum,’ John Baik’s ‘Rib of an Atom,’ Yang Hye-kyu’s ‘Sounding Rotating Figure H,’ and Seo Do-ho’s ‘Our Country.’ In ‘Our Country,’ over 23,000 human figures made of metal form a map, eliciting awe. From a distance, it looks like matchsticks, but up close, the faces and clothing of the people are delicately depicted. Park Kyung-geun’s ‘Dream of Iron,’ a video capturing the Hyundai Heavy Industries shipyard and POSCO steel mill?industries that sparked Korea’s metallurgy culture and economic revival?is also a highlight.

Hoam Art Museum, which opened in 1982, will celebrate its 40th anniversary next year. The museum is currently undergoing interior remodeling, scheduled to be completed by next spring. Despite the somewhat unsettled atmosphere, over 5,000 visitors come on weekends alone.

This content was produced with the assistance of AI translation services.