Ornamental patterns represent superb artistic aspects of the unique Korean cultural heritages

Traditional phoenix ornamental pattern

ome implications of ornamental patterns of Korea reach beyond a Western understanding of the word. If patterning is about decorating surfaces and, over time, surfaces are layered, then the Koreans and the 5000 years of civilization and cultural tradition in their history, inevitably have their own exclusive and unique world of traditional ornamental patterns. As Koreans have preserved certain uniqueness in every aspect of their lives, ornamental patterns of Korea have been widely used on teapots, cups and caddies, shallow bowls, deep containers, spoons, neck tie pins, locks, key holders and paper knives to jewelry such as pendants, cufflinks, rings and earrings.

Some remains of primary ornamental patterns in Korea are believed to have their origins from 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 widespread types were repetitive geometrical patterns including combs, droplets, waves, and saw teeth.

From the early Bronze Age emerged new patterns such as concentric circles and radial lines, which were etched on bronze sheaths and hilts, bronze objects in the shape of shields, “Palduryeong” (bronze ritual implements having eight bells around flat lanceolate octagon), and “Danyusemun gyeong” (bronze mirrors adorned with delicate incised lines). Petroglyphs and rock-cut graffiti also appeared at this time. Many petroglyphs are exposed along the hillside rock face in Eonyang-myeon, Ulsan. The objects are mostly preys, 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 Goryeong-gun of North Gyeongsang Province.

A variety of highly sophisticated secondary patterns in paintings and artifacts proliferated from the Three Kingdoms era. Fine line work and hues are applied together with handicraft skills in works of complex carving, gold and silver incising, or reverse inlaying. Artists found value in blending a main motif and subordinate constituents in a layout.

Many new patterns emerged in the Three Kingdoms era - Goguryeo, Shilla and Baekje. Popular ones were flower-shaped motifs including vignettes, lotus flowers, and trees, as well as legendary animals, including the four guardian deities, dragons, phoenixes, white tigers, and black tortoises, which commonly seen in wall paintings of Goguryeo tombs and on roof tiles of that period.

Stylized designs of birds, feathers, deer, and antlers were often used 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 state of mind. As clouds float high above the earth, they were regarded as felicitous representation of transport.

The Unified Shilla period (A.D. 668-935) enriched the tradition of the previous three kingdoms while creating flourishing patterns in the arts by espousing Buddhism and the culture of Tang China. A Bodhisattva, a buddhist saint, ascending on wisps of cloud indented on a temple bell, arabesquestyle vignettes, and such filigree as appears on the gold crown excavated from the Geumgwanchong tomb, demonstrates the refined skills of Shilla craftsmen.

Inlay design is one of the most impressive accomplishments in the arts of the Goryeo Dynasty (A.D. 918-1392). Applying the motifs of landscape painting added poetic flavor to handicraft work. Patterns used on Goryeo celadon, which is one of the landmark achievements of Korean art, are indigenous motifs of Korean faunas and flora, as well as such natural phenomena as clouds, snow, lighting and fog. They include chrysanthemums, lotus flowers, peonies, willow trees, reeds, waterfowl, cranes, and various other birds. Those interested in literature in those days particularly adored apricots, orchids, chrysanthemums and bamboo motifs as they regarded them as the “four noble plants,” believing they symbolized the noble and loyal virtues of a cultured man.

During the Joseon Dynasty (A.D.1392-1910), the dignified styles of the landscape paintings by literate artists had broad appeal to the Yangban (the noble class of the Joseon Dynasty). During the mid-dynasty, portrait paintings also gained popularity, as did natural motifs such as quails, crabs, flowers, plants, insects, grapes, apricots, and bamboos, all painted in ink.

Folk paintings were in fashion among the ordinary people in the late Joseon Dynasty, as general living conditions improved. In line with this trend, patterns symbolizing fortune, longevity, and procreation, the basic desires of the common people, were popular in all types of arts and crafts.

The most common patterns used in pieces of 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, wellripened pomegranates, peaches, grapes, and persimmons and bamboo, pine, and paulownia trees appeared often. Flying insects like dragonflies and beetles were friendly motifs, but butterflies were, among all, the most popular subject. As for animals, dragons, phoenixes, cranes, tortoises, deer, and tigers were favored, as well as fish and carp. Chinese characters with meanings of longevity, fortune, health, peace, and happiness were also widely used. Popular ideograms were “Taegeuk” (meaning the Great Ultimate, representing the great universal principles) and “Palgwae” (hexagrams, the eight signs for divination).

Throughout the long Korean history, a great variety of Korean patterns evolved and were created. They were the motifs used to express prayers for happiness and peace, as well as Confucian, Buddhist, and Taoist ideals. As they did in the past, these uniquely Korean patterns will prevail to represent various Korean lifestyles and cultural aspects as icons for Koreans.

By Andy Hou
BusinessKorea staff reporter