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Some remnants of primitive ornamental patterns in Korea are
considered to date back to the Paleolithic period. It was during the Neolithic
period that designs of artistic quality began to be developed.
Neolithic patterns are traced on earthenware, stoneware, and
bone and horn tools. The pervasive types were repetitive geometrical patterns
including comb, droplet, wave, and sawtooth patterns. From the early Bronze Age
emerged new patterns like concentric circles and radial lines, which were
incised on bronze sheaths and hilts, bronze objects in the shape of shields, p'alturyong
(bronze ritual implements having eight bells around flat lanceolate octagons),
and tanyusemun-gyong (bronze mirrors adorned
with delicate incised lines). Petroglyphs and rock-cut graffiti also appeared at
this time. Many petroglyphs are exposed along the hillside rockface in
Taegong-ri, Onyang-myon, Ulsan, mostly of prey, including deer, wild boars, bears, whales, and fish.
Concentric circles and quadrilateral forms which are superposed in many layers
and other stylized geometric patterns were discovered on boulders in Yangjon-dong,
Koryong-gun, Kyongsangbu-do
province.
A variety of highly sophisticated derivative patterns in
paintings and artifacts proliferated from the Three Kingdoms era. Fine linework
and colors are applied together with handicraft techniques in works of intricate
carving, gold and silver incising, or reverse inlaying. Artists found value in
blending a main motif and subordinate elements in a layout.
Many new patterns emerged in the Three Kingdoms era. Popular
ones were floral motifs including vignettes, lotus flowers, and trees, as well
as legendary animals, including the four guardian deities, the dragon, phoenix,
white tiger, and black tortoise, which can be seen in the murals of Koguryo
tombs and on roof tiles of that period.
Stylized designs of birds, feathers, deer, and antlers were
often applied in gold crowns and diadems. They were used to represent the royal
sovereignty of kings as well as cosmic principles. Clouds patterns were often
used to express religious trances or enlightened states of mind. As clouds float
high above the earth, they seem to have been regarded as a proper expression of
rapture.
Hanbok Decoration
A variety of highly sophisticated derivative patterns in
paintings and artifacts proliferated from the Three Kingdoms era. Fine linework
and colors are applied together with handicraft techniques in works of intricate
carving, gold and silver incising, or reverse inlaying. Artists found value in
blending a main motif and subordinate elements in a layout.
Many new patterns emerged in the Three Kingdoms era. Popular
ones were floral motifs including vignettes, lotus flowers, and trees, as well
as legendary animals, including the four guardian deities, the dragon, phoenix,
white tiger, and black tortoise, which can be seen in the murals of Koguryo
tombs and on roof tiles of that period.
Stylized designs of birds, feathers, deer, and antlers were
often applied in gold crowns and diadems. They were used to represent the royal
sovereignty of kings as well as cosmic principles. Clouds patterns were often
used to express religious trances or enlightened states of mind. As clouds float
high above the earth, they seem to have been regarded as a proper expression of
rapture.
The Unified Shilla period (668-935) enriched the tradition of
the previous three kingdoms while creating flourishing patterns in the arts by
adopting Buddhism and the culture of Tang China. A Bodhisattva ascending on
wisps of cloud embossed on a temple bell, arabesque-style vignettes, and such
filigree as appears on the gold crown excavated from the Kumgwanch'ong
tomb, demonstrates the refined skills of Shilla's craftsmen.
Inlay design is one of the most impressive accomplishments in
the arts of the Koryo Dynasty(918-1392). Applying
the motifs of landscape painting added poetic flavor to handicraft work.
Patterns used on Koryo celadon, which is one of the
landmark achievements of Korean art, are indigenous motifs of Korean fauna and
flora, as well as such natural phenomena as clouds. They include chrysanthemums,
lotus flowers, peonies, willow trees, reeds, waterfowl, cranes, and various
other birds. In particular, apricot, orchid, chrysanthemum, and bamboo motifs,
called "the four gentlemen," were adored by literati in the olden
days, for they were believed to symbolize the noble and loyal spirit of a man of
virtue.
During the Choson
Dynasty(1392-1910), the dignified styles of the landscape paintings of literati
artists had broad appeal to the yangban (schloar bureaucrat). During the
mid-dynasty portrait paintings also gained popularity, as did natural motifs
like quails, crabs, flowers, plants, insects, grapes, apricots, and bamboo which
were all drawn in ink.
Folk paintings were in fashion among the common people in the
late Choson Dynasty, when living conditions were
improving. In line with this trend, patterns symbolizing fortune, longevity, and
procreation, the basic desires of the common people, were pervasive in all types
of arts and crafts.
The favorite patterns used in furniture, costume, and daily
utensils were flowers, fruits, plants, insects, animals, fish, Chinese
characters, and ideograms. Looking closer at the floral patterns, we see that
peonies and lotus flowers gained great popularity, followed by chrysanthemums
and apricots. As for fruits and trees, well-ripened pomegranates, peaches,
grapes, and persimmons and bamboo, pine, and paulownia trees were often seen.
Dragonflies and beetles were friendly motifs, but butterflies were considered
the most popular subject among insects. As for animals, dragons, phoenixes,
cranes, tortoises, deer, and tigers were favored, and as for fish and carp.
Chinese characters considered felicitous signs, particular those for longevity,
fortune, health, peace, and happiness were also widely used. Popular ideograms
were t'aeguk (meaning the Great Ultimate,
representing the great cosmic principles) and p'algwae (hexagrams, the
eight signs for divination).
Throughout Korea's long history, a great variety of Korean
patterns evolved. They were the motifs used to depict prayers for happiness and
peace, as well as Confucian, Buddhist, and Taoist ideals. However, in recent
days, Koreans seem to be pushing these traditional patterns to the sidelines,
or, at least, no longer finding visual delight in them.
AsianInfo.org
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H.O.P.E. (non-profit org) (International
Cooperation of Environmental Youth - Helping Our Polluted
Earth) Any advertisement you view helps save the
environment! Thanks!
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