Consummate Craftsmanship: Korean Lacquer Art at the Museum für Lackkunst, Münster

he exhibition ‘Korean Lacquer there is a perceptible move TArt – Aesthetic Perfection’ towards freer, more generously (‘Die Lackkunst Koreas – Ästhetik conceived decorative schemes, the in Vollendung’; 28 October 2012-27 predominantly stylized flowers and January 2013) will be the first such leaves of earlier times giving way exhibition in the West. On display to a more naturalistic expression, as will be a selection of lacquerwork seen in a 16th/17th century clothing with mother-of-pearl inlay (najeon box. chilgi) dating from the Goryeo (918- Goryeo techniques were further 1392) and the Joseon (1392-1910) developed, two examples being dynasty. These masterpieces, from finely engraved internal line- Korean, Japanese and European drawing (mojobeop) and decoration collections, illustrate the highly with extremely thinly cut pieces sophisticated decorative techniques or strips of mother-of-pearl used in Korean lacquerwork. (kkeuneumjil). The late 16th/early Only about twenty examples 17th century saw the introduction of of Goryeo dynasty lacquer objects Case motifs such as the ‘Four Gracious decorated with mother-of-pearl have Korea, Goryeo dynasty (918-1392) Plants’, flowers and birds (hwajo), Lacquer inlaid with mother-of-pearl and tortoiseshell survived to the present day. Most 4.5 x 12.4 cm and winding vine tendrils, as well of these were manufactured for Taima-dera temple, Nara as innovative application of Goryeo use in the practice of Buddhism – dynasty traditions, such as the sutra chests, prayer bead boxes, incense containers and smaller use of tortoiseshell, and in the 17th and the 18th century, the boxes and receptacles presumably made for the royal house or tachalbeop technique was developed, in which larger, curved members of the nobility. pieces of mother-of-pearl are hammered flat to achieve a On most of the objects, rounded corners and chamfered crackle, or craquelure, effect. sides generate a simplicity of form that is an essential element By the end of the Joseon period, use of lacquer objects had of Goryeo lacquerwork. A further special feature is a decorative become increasingly widespread, leading to the production of inlay technique known as daemo bokchaebeop, which uses a correspondingly wide variety of items for everyday use. In wafer-thin pieces of tortoiseshell from the Hawksbill sea addition to geometric patterns, landscapes and other figural turtle (Eretmochelys imbricata), coloured on the underside scenes grew in popularity, as well as symbolic decoration, with yellow, orange, red or dark red, in combination with the such as the ‘ten longevity symbols’ (sipjangsaeng), the mother-of-pearl. A round case on display in the exhibition ‘eight precious things’ (palbo), bats, cranes, dragons, and exemplifies this technique. Typically, the ornamentation the characters for happiness (bok) and long life (su). Mother- extends over the entire surface, sometimes in an uninterrupted of-pearl was frequently combined with materials such as repeat, featuring intricate sharkskin, tortoiseshell, corals floral (chrysanthemum and various metals. and peony) and geometric The exhibition will be patterns, usually less than accompanied by a catalogue 1 centimetre in diameter, published in separate made up of hundreds of tiny German and English editions pieces of mother-of-pearl and (Munich, forthcoming). tortoiseshell. Precious metal With contributions by wire was also used in lacquer internationally renowned works of the period, both for scholars, it spans the purely decorative purposes beginnings of lacquerwork and for strength. on the Korean peninsula to Although most lacquers the popular wares of the 20th from the Goryeo-Joseon Clothing box century. transition period still clearly Joseon dynasty, 16th-17th century Lacquer inlaid with mother-of-pearl belong to the tradition 12.7 x 68.5 x 44.5 cm Patricia Frick is Curator at the of the earlier dynasty, National Museum of Korea, Seoul Museum für Lackkunst, Münster.

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