Goryeo Celadon: The Famed Ceramics of Medieval Korean Art

The precise craft of making celadon ceramics in Korea from the 10th century until the 14th century produced timeless art objects that are still admired today. They were created with a jade-green glaze on top of painstakingly etched inlay, the pinnacle of technological advancement at the time. Though practical in purpose, celadon objects are more than functional items used in daily life, they provide insight into the lives of those in power, as well as trade and craftsmanship during the Goryeo Dynasty (918-1392).

The political turmoil of the Later Three Kingdoms Period (889-935) resulted in the downfall of the ruling Silla Kingdom. The ruler of the rebels, Wang Geon, ultimately declared himself king and sought to return the peninsula to the glory days of the previous Koguryo state (37-668).

Despite the change in the ruling aristocratic family, the power structure mirrored those that preceded it, with a centralized government presided over by a monarch. This government ruled over a mostly peasant-based society, which also included skilled artisans. Slaves were also present in society and there was little social manoeuvrability within this system.

Members of the royal court were major patrons of the arts and culture, and the amount of luxury goods in circulation increased. As a result, ceramicists in particular sought to create exquisite objects that would satisfy wealthy patrons. Buddhism was also the dominating religion, and this resulted in the production of detailed paintings of Buddhist scenes.

Origins of Goryeo Celadon

Celadon techniques were originally imported from China—the Song Dynasty in the South (960-1279) and the Liao Dynasty in the North (907-1125)—around the 10th century, due to political, economic, and cultural ties between the two countries. The first celadon and other ceramics made at the start of the Goryeo Period were tea utensils, created to satisfy demand for another import from China.

Interest in tea culture increased the demand for related objects. It was popular among the royals and the aristocracy, who used tea ceremonies to entertain in different settings. In Korea, there was a specific bureau dedicated to tea-related activities for the royals, known as the “Tea Chamber.” Tea was used within diplomacy too, and served the visiting envoys from China, and in meetings between the Goryeo elites.

Various objects were created by artisans intended for use within tea culture. Though the celadon technique was originally imported from China, Korean artisans adapted the method, altering the firing process. The demand was for products primarily using Korean technology, for a cultural sphere adapted from China.

During Goryeo, two types of kiln existed: the brick kiln and the mud kiln. Brick kilns were more durable and reliable, while mud kilns were easier and cheaper. Celadon was mostly produced in brick kilns, following the technique imported from China. Mud kilns were an adaptation of this method.

Goryeo celadon is known for its jade-green hues, which make it particularly famed within Korean art history. The effect was achieved through applying a very thin glaze that encapsulates thousands of tiny air bubbles. Ceramics made previously were fired with only a single glaze. Unlike their predecessors, Goryeo celadon was glazed and fired twice.

Oxygen control in the kiln was central to the technique. In the mud kilns, it was reduced as much as possible while the kiln was sealed. Craving more oxygen, the fire stripped the glaze of copper off it, thus achieving the ceramic’s distinctive coloring.

The method of firing is just the beginning when it comes to Goryeo celadon. The methods used for decoration were diverse and achieved designs that were equally as impressive as the glaze. Firstly, there was the simple painting technique, in which a design was painted onto the surface of the celadon. Decorations were also carved into the surface using a knife or mold. Finally, the inlay technique was the most complex, wherein engraved designs were filled with slip, also known as “sanggam.”

Two techniques were used to create raised designs. The first was carving the piece’s surface with a knife; the second was creating a mold impression. The mold-impression design did not require skilled artisans to execute, which meant that celadon made in this way was low-cost and efficient.

The use of copper became popular towards the end of the Goryeo Period, which emphasized different patterns. Gold was also occasionally used in celadon works.

Floral patterns were prevalent. The lotus was the most common design, with petals carved out of the body of the celadon. Birds, too, were used often as designs, particularly cranes. Alongside nature motifs, geometric patterns were popular, such as hexagons and wave designs.

The type of glaze also impacted the design of the celadon. There was a crackled glaze in which small, intentional cracks added texture. Alternatively, the even glaze was smooth and highlighted the form and patterns of the piece.

Many different types of objects were produced in the celadon style, including bowls, boxes, kundika (ritual pitchers), and incense burners. The most significant and defining celadon object is the maebeong shape, a tall vase with a curved shoulder.

Trade and Royal Patronage

Many shipwrecks have been found off the western coast of Korea, with some still being discovered to this day. Due to these shipwrecks, archeologists have deduced that the majority of celadon were transported via ships on waterways. The route to Gaesong, the capital, was particularly popular, where celadon was delivered as tax payment (or tribute) alongside rice. However, there is also evidence of using land routes into China, where celadon was adapted to satisfy Chinese taste. Celadon has been found by archeologists in Japan as well.

The Goryeo elite heavily invested in the development of celadon design and techniques. At the beginning of the Goryeo Period, celadon production occurred in Gaesong, in the north, and by the end, it had arrived in Gangjin in the south. Gangjin, in particular, was an ideal center for production, as it housed many natural resources necessary for production, such as clay.

The delicate and intricate nature of celadon designs reveals the importance of sophistication to the Goryeo elite, as well as the development of Korean art at that time. This was led by the Goryeo court, which had special kilns for the making of exclusive wares. They invested heavily in celadon production, which is evidenced by their skillful designs.

The technological and artistic innovation of Goryeo celadon was particularly impressive. The inlaying technique, sanggam, was perfected at this time, emphasizing the skill of Korean ceramicists. It went above and beyond the technique that arrived on the peninsula at the start of the Goryeo Period from China, becoming an independent craft in its own right.

The technical expertise of Goryeo celadon continued into the Joseon Period (1392-1910), laying the groundwork for ceramics production to come. Though Joseon ceramics are known for their simplicity, Goryeo celadon certainly influenced its development. Today, Goryeo celadon has become a symbol of Korean artistic identity and national pride. They are displayed worldwide in art museums and continue to influence Korean artists, particularly ceramicists, today.