Table with phoenix motif (detail), 1850–1910. Korea, Joseon dynasty (1392–1910). Lacquered wood with inlaid mother-of-pearl, ray skin, and metal wire. Asian Art Museum, Gift of Patricia Anloff, 2012.99. Photograph © Asian Art Museum.

LOOKING AT MOTHER- OF- PEARL LACQUERWARE FROM KOREA

MAY 21, 2016

Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture 200 Larkin Street San Francisco, CA 94102 www.asianart.org

Copyright © 2016 by Asian Art Museum PROGRAM

9:30 AM CHECK-IN AND REGISTRATION

9:45 AM OPENING REMARKS

10–10:30 AM REFRAMING NATURAL LUSTER: THE ART AND HISTORY OF KOREAN MOTHER-OF-PEARL Kyeongmi Joo, Lecturer, Chungnam National University

10:30–11 AM THE CONSERVATION OF FOUR KOREAN LACQUERWARE OBJECTS IN THE ASIAN ART MUSEUM’S COLLECTION Colleen O’Shea, Mellon Fellow in Conservation, Historic New England

11–11:30 AM ANALYTICAL INVESTIGATION OF ASIAN FROM THE ASIAN ART MUSEUM OF SAN FRANCISCO Herant Khanjian, Assistant Scientist, Materials Characterization Group, The Getty Conservation Institute

11:30–11:45 AM BREAK

11:45–12:15 PM HAS YOUR LACQUER LOST ITS LUSTER? PHYSICAL CHARACTERISTICS THAT CONSERVATORS, CURATORS AND COLLECTORS SHOULD RECOGNIZE Marianne Webb, Senior Conservator, Webb Conservation Services

12:15–12:45 PM CONTEMPORARY USE OF TRADITIONAL ASIAN LACQUER Sunhwa Kim, Associate Professor, Wood/Furniture Design Coordinator, Buffalo State College

12:45–1:15 PM DISCUSSION WELCOME

It is an exciting time for the study of Asian lacquer. In the field of conser- ware tools. This process allows for the creation of a database that can help vation, there have been recent initiatives to undertake a systematic survey make sense of the multitude of information gathered through these initiatives. with the aim of improving the characterization, understanding and preser- This reflects the efforts of the museum’s conservation team to better under- vation of this unique material. As one of the most important collections of stand the art historical and scientific significance behind Korean mother-of- Asian artworks in America, the Asian Art Museum has partnered with the J. pearl lacquer. Paul Getty Museum and other museums to participate in the groundbreaking project “Recent Advances in Characterizing Asian Lacquer,” also known as Beginning with the Asian Art Museum’s conservation of the four Korean lac- “RAdiCAL.” Until recently, the study and analysis of Asian lacquer had been quer objects that received close study, scientific analysis and treatment, and confined to Chinese and Japanese objects. As a result of the collaboration now followed by this symposium, which brings together scholars from around between the Getty and the Asian Art Museum, samples collected for the world, this project — generously funded by the Overseas Korean Cultural analysis and inclusion in the study now include Korean lacquerware. The Heritage Foundation — has highlighted the benefits of collaboration between Asian Art Museum is a forerunner in the field because of its expertise in conservators and scientists. The interest generated by this recent collection Korean art and active collecting of Korean mother-of-pearl lacquerware, of information has international importance and lays the groundwork for fu- resulting in the largest collection in the United States. The conservation of ture research. The concepts being developed today to study lacquer may the four Korean lacquer objects that will be introduced at today’s sympo- also be applied to the study of other materials. Continued investigations may sium is the result of the museum’s continual efforts to research and preserve allow us to do the same for the inlay materials found in lacquers, including Korean lacquerware. mother-of-pearl, ray skin and tortoiseshell. The wealth of information not only contributes to our understanding of how, where and when traditional lacquer As an important contributor to the data being collected and participation was created, but also can assist us in devising the most appropriate methods in workshops with conservators and scientists from around the globe, the for ensuring its long-term preservation. Asian Art Museum has applied procedures for analyzing the constituent ma- terial and techniques of production for Asian lacquer. These factors vary by geography, availability of raw materials and historical context. So far, the KATHY GILLIS museum’s lacquer conservation project has already discovered a much wider HEAD OF CONSERVATION range of materials in Asian lacquers than was originally believed to be used. ASIAN ART MUSEUM

In this symposium, you will learn about the expansion of our knowledge by previously underutilized analytical techniques such as Pyrolysis-gas chroma- tography/mass spectrometry and how the resulting data and interpretation can be organized and analyzed using rapidly developing technology and soft- KYEONGMI JOO REFRAMING NATURAL LUSTER: THE ART AND HISTORY OF KOREAN MOTHER-OF-PEARL LACQUER Kyeongmi Joo is a lecturer in the department of archaeology at Chungnam National University. She Mother-of-pearl lacquer is an exquisitely crafted Even before the complete development of mother-of- completed her Ph.D. in art history at Seoul National traditional Asian art form created from wood, lac- pearl lacquer in Korea, Korean craft masters utilized University in 2002. quer and inlayed shells. Since the period, many natural materials with the interference color natural shells have been used as ornamental materials effect, such as jewel beetle wings or mica flakes. Joo specializes in the history of arts and crafts of East all over the world. Being surrounded by the sea on However, only after the use of the abalone or turban Asia and is currently serving as an associate member three sides, the Korean Peninsula has an abundance snail shells did the mother-of-pearl inlay techniques of the Committee of Cultural Heritage at the Cultural of shells. After eating shellfish, Korean people would and lacquer become fully developed and culminate Heritage Administration of Korea. She was previously utilize shell remnants as ornaments and decoration. in technical perfection. a Humanities Korea research professor at the Busan As a result, a distinct technique and style of mother- University of Foreign Studies and Sogang Universi- of-pearl lacquer craft was developed. The historical origin of Korean mother-of-pearl lac- ty, and a research professor at Pukyong National quer crafts is not yet clearly determined, although the University in Korea, as well as a visiting scholar at Although various types of shells are used in this art, finest artworks of the craft have been traced to the Kokugakuin University in . She has conducted the most important and prevalent shell type is the Goryeo dynasty (918–­1392), especially during the research on various topics related to production tech- abalone shell from the southern sea of the Korean 12th century. Only approximately 20 Goryeo dynas- niques of East Asian arts and crafts, cultural transmis- Peninsula. The inner surface of the abalone shells ty mother-of-pearl lacquers remain in the world, but sion and variations between China and Korea. show the dazzling and lustrous colors of nature enabled they represent the most refined and lustrous beauty by the interference color effect. This lustrous effect produced by those creative artists in medieval Korea. Joo’s book “Study of Buddhist Reliquaries from is produced on the crystallized surface material by This elaborate and dazzling artwork tradition has Ancient China” (Iljisa, 2003) examines extant Buddhist the interference of many rays in natural white light. been handed down by craftsmen of the Joseon dynas- reliquaries and those relevant historical records from Lacquer artisans in ancient Korea devoted their lives ty (1392–1910) to their modern Korean counterparts, the Six Dynasties period to the Tang period, focusing to redesigning and reframing this natural color effect while the style and forms of traditional Korean mother- on patrons and religious practices related to Bud- for use in a new handcrafted lacquer object. They ex- of-pearl lacquers have constantly transformed in tune dhist reliquaries. She has published many journal ar- quisitely combined the lustrous abalone shells from with historical and cultural changes. ticles not only on Song and Liao Buddhist reliquaries the sea with lacquer, which is made from materials but also on Baekje and Silla Buddhist reliquaries. that come from trees. This lecture will illuminate the stylistic and material Her recent book “Blacksmith” (Minsokwon, 2011) characteristics of Korean mother-of-pearl lacquers explores the traditional production techniques of and provide an overview of their stylistic and technical ironsmith and its historical context in Korean culture, developments from inception through modern times. especially by examining the traditional blacksmiths The traditional Korean mother-of-pearl lacquer craft workshops of Chungnam Province in Korea. In 2014, developed its own artistic style distinct from other she became a member of the advisory board for the East Asian countries in terms of technique, style, pat- special exhibition Modern Lacquerware Inlaid with tern and materials. Korean mother-of-pearl lacquer Mother of Pearl held at the Busan Modern History craftsmen have always showcased the natural luster Museum and wrote a short article for the exhibition of materials to imbue everyday objects with exquisite catalogue on lacquerware with Nangnang patterns and luxurious beauty. during the Japanese occupation period of Korea. Mirror, 700-900. Korea, Unified Silla (668–935). Bronze inlaid with Box with motif, 1550–1650. Korea, Joseon dynasty mother-of-pearl. Leeum, Samsung Museum of Art, National Treasure (1392–1910). Lacquered wood with inlaid mother-of-pearl. Asian No. 140. Photograph © Leeum, Samsung Museum of Art. Art Museum, Acquisition made possible by Koret Foundation Funds, 2006.6.a-.b. Photograph © Asian Art Museum. COLLEEN O’SHEA THE CONSERVATION OF FOUR KOREAN LACQUERWARE OBJECTS IN THE ASIAN ART MUSEUM’S COLLECTION Colleen O’Shea is the Mellon Fellow in Objects Conservation at Historic New England, the nation’s This talk addresses the conservation of four late The results of the examination helped to determine oldest and largest regional heritage organization. Joseon dynasty lacquerware objects from the Asian the treatment steps. For example, it was discovered She received her Master of Arts degree in art Art Museum’s collection. The objects were the center that the round table had a final coating of wax on top conservation from SUNY Buffalo State in 2015, of extensive study and treatment in preparation for of the original surface. This wax layer was in good specializing in objects conservation. She completed the exhibition Mother-of-Pearl Lacquerware from condition and was protecting the original surface, graduate internships in conservation at the Agora Korea. The main goals in the conservation process the brass wire inlay and all of the other decorative Excavations in Athens, Greece; the Gordion Excava- were threefold: 1) to provide a detailed study and inlay. The wax layer was left in place and lightly tions in Yassihoyuk, Turkey; and the Chincha Valley examination of the objects to add to the body of cleaned and buffed. Archaeological Project in Chincha Alta, Peru. Her knowledge about late Joseon lacquerware objects third-year internship was at the Asian Art Museum in and to inform the treatment steps to be taken; 2) to To meet the second goal of preparing the objects San Francisco, after which she served as the project ensure that the objects are stable for exhibition and for exhibition, all loose parts, such as lifting inlay conservator for the Korean lacquer treatments. Her storage; 3) to make judicious aesthetic compensation elements, lacquer and textile layers were secured special interest is the conservation of organic mate- for losses of inlay and lacquer. with a conservation-grade adhesive. After securing rials, particularly textiles, basketry and lacquerware loose elements, the objects are safe to be displayed objects. In terms of examination and study, the objects were or stored without risk of further losses. looked at visually and under ultraviolet radiation. The Table with phoenix motif (detail), 1850–1945. Korea, Joseon dynasty (1392–1910) or Japanese colonial period (1910–1945). Lacquered ultraviolet radiation helped to reveal differences in For the last goal of filling losses in the lacquer and wood with inlaid mother-of-pearl, ray skin, and metal wire. Asian Art materials used, prior repairs and surface coatings. decorative inlay elements, the object was looked at Museum, Acquisition made possible by Korean Art and Culture Small samples were taken for cross-section analysis in concert with the curator to determine the desired Committee, 2009.17. Photograph © Asian Art Museum. and instrumental analysis by the Getty Conservation extent of compensation. The general aim was to render Institute. The cross sections showed that each object the designs legible again and to fill in losses that had a textile layer, followed by a ground layer, were distracting to the overall pattern. In all cases followed by one or further layers. X-radiographs in conservation, we strive to make sure our treat- were taken of each object, which helped to reveal ment steps are reversible or retreatable. To this end, where there had been previous repairs to structural parts every material used to fill losses in inlay or lacquer of the objects. Elements were analyzed with X-ray flu- should be removable, if so desired. The fill materials orescence spectrometry, including the gold-colored should also be readily detectable under magnifi- wire and golden flakes, both of which were deter- cation and ultraviolet radiation. Some innovative mined to be composed of copper and zinc. steps here included crafting fills for the ray skin inlay using paper and giving the paper a texture that matched that of the ray skin scales, and using cast acrylic paint for fills in the lacquer. ASIAN ART MUSEUM OBJECTS CONSERVED FOR THE EXHIBITION

Table with phoenix motif, 1850–1945. Korea, Joseon dynasty (1392–1910) or Japanese colonial period (1910–1945). Lacquered wood with inlaid mother-of-pearl, ray skin, and metal wire. Asian Art Museum, Acquisition made possible by Korean Art and Culture Committee, 2009.17. Photograph © Asian Art Museum.

Tray with phoenix motif, 1850–1910. Korea, Joseon dynasty (1392–1910). Lacquered wood with inlaid ray skin and brass wire. Asian Art Museum, Gift of Patricia Anloff, 2012.100. Photograph © Asian Art Museum.

Table with phoenix motif, approx. 1850–1910. Korea, Joseon dynasty (1392–1910). Lacquered wood with inlaid mother-of-pearl, ray skin, and metal wire. Asian Art Museum, Gift of Patricia Anloff, 2012.99. Photograph © Asian Art Museum.

Dragon, phoenix, deer, tiger, crane, and , 1850–1945. Korea, Joseon dynasty (1392–1910) or Japanese colonial period (1910-1945). Six-panel ; lacquered wood with inlaid mother-of-pearl, tor- toiseshell, brass wire, and ray skin. Asian Art Museum, The Avery Brundage Collection, B61D13. Photograph © Asian Art Museum. These objects have been conserved with generous support from the Overseas Korean Cultural Heritage Foundation. HERANT KHANJIAN ANALYTICAL INVESTIGATION OF ASIAN LACQUERS FROM THE ASIAN ART MUSEUM OF SAN FRANCISCO Herant Khanjian received his undergraduate degree in chemistry from California State University, Northridge, In recent years, the characterization of Asian lacquers One important outcome from the development of and has been a member of the science department of has been gaining increasing attention in the conser- the scientific procedures has been the assembling the Getty Conservation Institute (GCI) since 1988. His vation field. The Getty Conservation Institute (GCI) of hands-on workshops to provide conservators and research interests involve the detection and identifica- has undertaken a long term research initiative to conservation scientists a better understanding of tion of organic media found in historical objects and ar- investigate the composition and behavior of a geo- lacquer sample composition. Recent Advances in chitecture, including paintings, photographs, graphically diverse group of Asian lacquers. The Characterizing of Asian Lacquers (RAdiCAL) work- and decorative art pieces. He has co-authored articles project has been supported by the development of shops have facilitated the training of nearly 50 con- in a number of professional journals on topics ranging analytical procedures to facilitate the identification servators and conservation scientists. The training from characterization of natural organic media to the and differentiation of lacquers. It employs a sensitive has prompted participants to contribute useful in- study of modern paints and plastics. He is a co-author pyrolysis-gas chromatography/mass spectrometry formation on unique and unpublished Asian lacquer of “Solvent Gels for the Cleaning of Works of Art” (GCI, with thermally-assisted hydrolysis and methylation marker compounds. 2004). In recent years, he has been engaged in the (THM-Py-GC/MS) methodology that delivers max- Institute’s Conserving Modern Architecture Initiative on imum information on the lacquer composition. The Lacquer samples originating from several Asian the conservation of the Eames House and the Salk analysis benefits from a precision sample micro-ex- Art Museum collection objects were investigated in Institute. He has also been involved in the Charac- cavation procedure, using ultraviolet and visible light, GCI’s Materials Characterization Laboratory. The terization of Asian and European Lacquers project. to separate individual lacquer layers. It also utilizes purpose of the investigation was to study the strati- Khanjian is currently an assistant scientist in the histochemical stains to identify non-lacquer organic graphic composition and historical material use in Material Characterization group of the GCI. components in layers from sample cross-sections. the lacquered objects. A broad range of compounds Finally, a systematic protocol for data evaluation were identified including Vietnamese (laccol), Korean and interpretation is applied, through targeted li- (urushiol) and Burmese (thitsi) lacquers in the primary brary search from a large collection of published layers. In addition, some samples contained only and unpublished marker compounds. shellac, while glue was found in other layers.

PEAK AREA % COMPOSITION

Thitsi

Tallow Tree Oil Tallow Tree Oil 8.4% Proteins

Carbohydrates

Resins

Other

Thitsi 91.0%

Table with phoenix motif (detail), approx. 1850–1910. Korea, Joseon dynasty (1392–1910). Lacquered wood with inlaid mother-of-pearl, ray skin, and metal wire. Asian Art Museum, Gift of Patricia Anloff, 2012.99. Photograph © Asian Art Museum. Sample analysis of Standing Buddha (F2014.47.3) MARIANNE WEBB HAS YOUR LACQUER LOST ITS LUSTER PHYSICAL CHARACTERISTICS THAT CONSERVATORS, CURATORS AND COLLECTORS SHOULD RECOGNIZE Marianne Webb is an independent conservator and researcher based on the West Coast of Canada. The structure of Asian lacquer objects is complex. After artificial aging with light and changing relative Previously, she was the decorative arts conservator The combination of many layers of lacquer with humidity, the physical characteristics were compared at the Royal Ontario Museum in Toronto, where she different additives coated onto a variety of substrate by four methods of assessment that conservators developed her keen interest in Asian and Western materials naturally results in different types of de- have previously used on Asian lacquer: measurement lacquer. terioration. Understanding the aging characteristics of gloss, measurement of surface pH, a comparison and behavior of these surfaces has been the focus of microcracking using a scanning electron micro- Webb received an honors degree in fine art from the of many research projects in the past three de- scope, and observation of autofluorescence. University of Toronto and a diploma in art conservation cades. Recent studies at the Getty Conservation techniques from Sir Sandford Fleming College. A Institute have led the way in analyzing coatings In all methods of evaluating the surface, the initial founding member of the International Council of to determine the type of lacquer, urushi, thitsi or lacquer formulas made a difference in the results, Museums Committee for Conservation Working laccol along with other ingredients, from common lin- and patterns of behavior are beginning to emerge. Group on Lacquer, she served as its coordinator for seed oil to the unusual tofu. Behavior that seemed Conservators have used low pH measurements 12 years. She received the Samuel H. Kress Publi- unpredictable in the past is beginning to be under- to evaluate the severity of surface degradation. cation Fellowship in 1997, awarded by the Ameri- stood as we slowly learn how the ingredients and However, when the 11 different Asian lacquer formulas can Institute for Conservation of Historic & Artistic the history of the object affect it. were compared, the transparent lacquers consis- BELOW RIGHT: Varnish removal from Japanese lacquer Works, to write a manuscript on a conservation sub- BELOW LEFT: Detail of urushi marks tently measured lower than any samples containing ject. “Lacquer: Technology and Conservation” was Natural aging and the environment can lead to oil or pigments. Although they had the lowest level published in 2000. She is currently working on the both physical and chemical changes. For example, of pH, they retained the highest gloss. Gloss varied second edition to be published by the Getty Conser- structural damage occurring to the core results in according to formula, with the greatest loss occur- vation Institute. changes to the surface. Surface degradation by ring on the sample colored by iron oxide. light and heat can affect not only the appearance This presentation is based on her 30 years of experience of an object but invite further damage by water. Under ultraviolet light, the transparent lacquers preserving Asian lacquer and her recent research Not only are individual parts of the object affected, showed more intense autofluorescence than those carried out at the Getty Conservation Institute on the but the interaction between the layers can cause with oils or pigments, with laccol being brighter aging characteristics and discoloration of Asian lacquer. damage. Understanding how damage has occurred than urushi. Microcracking after exposure to RH is important for the custodian so that deterioration cycling occurred on most samples, but many different can be prevented and in many cases repaired. patterns occurred. Transparent urushi had the least microcracking, which is consistent with the gloss Research undertaken in 2014 at the Getty Conserva- measurements. tion Institute facilitated the understanding of how the initial formula affects aging. Eleven sample boards Asian lacquer can no longer be considered a single were made that represented five different formulas type of coating. Objects must be looked at more based on laccol lacquer and six based on urushi. The like paintings, where variations in the medium, samples contained transparent lacquers, some with additives and pigments differ according to time, oil added and other with pigments as well. place and the individual artist. SUNHWA KIM CONTEMPORARY USE OF TRADITIONAL ASIAN LACQUER

Since 2008, Sunhwa Kim, a South Korean lacquer Great lifestyle shifts have occurred in term derives from “na,” refers to the conch or other and furniture designer, has been the coordinator of over the past decades. These shifts are a result of spiral shells, and “jeon,” originally meaning decorative the wood/furniture design program at Buffalo State many factors such as influences from the West, fast- work using metal plate. Makie is a traditional Japanese College in Buffalo, New York. Prior to teaching in er lifestyles, societal changes in respect to gender, technique of decoration. After having drawn patterns Buffalo, she worked for six years as an Asian lac- economic changes resulting in diversification of vo- in lacquer on the surface of furniture or vessels, gold quer lecturer at several colleges and universities cations, goods, services, food and changes in manu- or silver powder and colored powder is sprinkled in Korea. She has studied at Ishikawa Prefectural facturing and materials. on and affixed. All techniques and processes involve Institute of Wajima Lacquer Art in Wajima, Japan. specialized tools and equipment, such as a moisture She holds two Master of Fine Arts degrees, one These cultural shifts have had an impact on pro- box, lacquer-compressing stand, sander and cutting in design and craft from the Kanazawa College of duction in Japan and Korea. Furniture forms have tool for mother-of-pearl, a variety of brushes, tools for Art in Japan, and one in furniture design from the changed to better accommodate the on-the-go chinking and makie. It is always a challenge to keep the Savannah College of Art and Design in the U.S. generation that places less value on tradition and workspace, tools and materials free of dust. She holds a Bachelor of Fine Arts degree in wood does not suit present spatial environments. Traditional furniture design from Dong-A University in Korea. lacquer craft and furniture is too expensive for most The lacquer foundation process alone can easily take young people, and they prefer a contemporary style. several months. However, if these processes, tech- niques, materials and tools are not preserved, they Passionately committed to preserving the craft Even though contemporary craft/furniture in Korea will be forgotten and will become difficult, or impos- of lacquer, Kim hopes the wonderful techniques accommodates people’s changing lifestyles, there is sible, for future generations to recover. of the past will continue to inspire modern artists a substantial loss of quality. Mass-produced goods to develop imaginative approaches to this tradi- are less original. Synthetic materials do not foster the tion. Sharing her knowledge and passing on the same emotional connections as natural ones. tradition of lacquer craftsmanship are import- ant to her, as is adding to the comprehensive The process of creating natural lacquer work is difficult, knowledge base about this intriguing art form time-consuming, requires expensive materials/tools, and contributing to the perpetuation of natural involves numerous craftsmen and techniques, and can lacquering techniques. Kim would like to create cause allergic reactions. There are also no longer many objects that are aesthetically pleasing, with details job opportunities due to the lack of demand. that provoke emotion, increase enjoyment and improve the quality of people’s lives. Each Asian lacquer piece begins with inspiration and then requires research, sketches, form creation, lac- quer foundation and the decoration process. There are a variety of material choices for the form, in- cluding wood, glass, metal, ceramic, leather, paper,

Time Capsule of Life, 2013, by Sunhwa Kim. Wood with fabric, plastic, etc. Wood is commonly used in Korea layered, multicolored lacquer, mother-of-pearl, gold powder, because it is easily available. The lacquer process also Reading desk with motif of the Ten Symbols of Longevity, 1750–1850. Korea, Joseon dynasty (1392–1910). Lacquered wood with inlaid lacquer powder, and leather. © Sunhwa Kim. involves a variety of materials such as lacquer, pig- mother-of-pearl. Asian Art Museum, Acquisition made possible by Korean ment, charcoal, paper filters and sharpening stones. Art and Culture Committee, 2016.37. Photograph © Asian Art Museum. The decoration technique and materials offer many possible choices such as najeon and makie. Najeon, the mother-of-pearl inlay, is the most popular natural lacquer technique traditionally used in Korea. The This symposium is made possible by the generous support of the Overseas Korean Cultural Heritage Foundation.