Traditional Korean patterns are often featured throughout Korea on architecture, clothes, porcelain, necessities, and more. These patterns can be recognized either by one of the four time periods they originated from (The Three Kingdoms, Unified Silla, Goryeo, Joseon), or by their shape (character, nature, lettering, and/or geometry).
A scenery of Andong City, Gyeongsangbuk-do, South Korea. wangheungsa- Buddhist temple
The longing for a realistic desire or association with the world through a specific object is the principle of charm for Korean patterns. Traditional patterns can be seen as incantation prints depending on whether a wish is realistic for an ideal life. As a result, traditional Korean patterns are seen as visual art detailed with symbolism, value, and emotion.[1] These prints often capture the beauty of nature, longing for a utopia, affection, and the prayers for good fortune.[2] One of the major patterns used in Korea is a peony in bloom, symbolizing wealth. Additionally, pomegranates or grapes are placed in a woman's living space to encourage fertility.[1]
Patterns may also represent a sign, despite whether or not the pattern features fictional subjects. This is mostly shown with a dragon or phoenix patterns, which is often regarded as a lucky sign depending on the story behind it. Peach patterns invoke meditation and longevity, representing a mythical peach that was said to grow in heaven (Xi Wangmu legend, 서왕모 전설). A carp pattern symbolizes success in life, as presented in a myth. These representations are derived from the artists who created the patterns, or the people who witnessed and experienced such things.[1] Since the Three Kingdoms period, traditional Korean patterns were generally involved with Buddhism, in addition to Confucianism and Taoism.[3]
History
The Three Kingdoms period
It was in the Three Kingdoms period that patterns showed distinctive Korean styles. The patterns of this period were influenced by Chinese culture and Buddhist art. Because the three kingdoms were in the same cultural zone, the artifacts of the three kingdoms are similar, while at the same time showing respective differences. For example, four symbols (사신도) were the main theme in Goguryeo murals. The symbols are also observed in Sillaearthenware. The 'Cheonma (天馬, literally translated to the horse of the sky)' drawings in Silla 'Cheonmachong' royal tomb (천마총) were quite similar to Goguryeo's mural paintings in a tumulus.[1]
Unified Silla period
In the mid-7th century, Silla unified the three kingdoms and created a new national culture. During this period, Buddhism art especially flourished. As trade with the countries bordering Western China, Unified Silla introduced new crafting technologies and styles. One of the examples of these new patterns was the floral medallion motif pattern (寶相華紋,보상화문). The floral medallion motif pattern was introduced from Persia to Korea and Japan in the 7th century. The fictional flower has eight leaves with sharpened ends. Interests regarding the matter of the afterlife also increased during the period, and were reflected through geometric patterns such as comb-pattern, triangle, circle, and the floral medallion motif.[1]
Goryeo period
Since Goryeo endorsed Buddhism as the state religion, and continued the legacy of the society of the prosperous Unified Silla aristocracy based on rich Buddhist traditions, Buddhist art flourished. Goryeo patterns tended to be more colorful. Goryeo celadon was painted with patterns such as clouds, lotuses, and cranes. Goyeo lacquerware, inlaid with mother-of-pearl, displayed patterns like chrysanthemum, waterfowl.[1]
Crane pattern in Goryeo celadon
Joseon dynasty period
Joseon art was not a product of previous traditionally trained skills, but rather was an independent development from previous traditions. Characteristic of the period was the 'gil sang' pattern, which are translated as lucky signs (길상무늬, 吉祥). Examples of gil sang patterns include Lotus pattern, 'man' (卍) pattern, the ten traditional Symbols of Longevity (十長生), letter pattern and so on. Letter patterns are patterns using Chinese characters (i.e. 부(富)·귀(貴)·수(壽)·복(福)·강(康)·영(寧)·희(囍)) which have the meanings of wealth, honor, long life, happiness and peace respectively and were used with decorative frames.[4]
This Whiteceladonof the Joseon dynasty is painted 'gil sang' letter pattern at the center.
Usage
Korean traditional patterns were used in architecture, daily goods, and artifacts of Buddhist temples to further emphasize Buddhism. The main purpose for making patterns was decorative, and often functioned to protect the object. For example, 'Dancheong' is a Korean artifact painted with various patterns on a wooden structure. The reason for making the Dancheong pattern was to protect the structure from decay from rain or wind. Dancheong was especially useful at showing colours important to Korea, these were blue, red, black, yellow, white, black.[5]
At court, the order of precedency and position were exhibited through a court suit's embroidered pattern. The king's suit named 'Gonryongpo (곤룡포)' was embroidered with a gold dragon. A civil official's suit was embroidered with a crane and a military official's suit was embroidered with a tiger. The number of animals displayed rank.[6] In daily life, patterns used packages, cloth scraps and embroidered pads attached to both sides of a pillow for decoration and a wooden rice-cake pattern maker. Generally, each family had a distinct rice-cake pattern; this pattern was not changed and was not used by another family.[7]
Classification
Patterns can be classified by subject matter or meaning. For example, a typical subject matter can be animals like the dragon or the phoenix and plants, such as lotus or bamboo. Or, there are letter patterns like '卍' and geometrical patterns. According to meaning, there are the ten symbols of longevity (십장생) and complex patterns that represent longing for bearing many sons or longing for success.[1]
Character patterns
Character pattern refers to faces or shapes of humans, mountain gods, Buddha, the Four Devas. Many of those patterns are influenced by Korean past history and culture like Buddhism.
One major example of Korean character patterns is the Dokkaebi pattern, which is typically used as a background pattern for older documents, a knife ornamented with silver, and root tile,[1] originating since Silla era.[8]
Dokkaebi pattern was shown Roof-end tile from Goguryeo dated to the fifth or sixth century.
Animal patterns
Animals who give goodness or fear to humans often used as subject. When animals are represented as pattern, they were not only existing, but also symbolic of a human's spirit. Figures represent the human face or form, or refer to such pattern expressed fresh, Buddha, deities, imp. In Korea, such as the Buddha and the deities, bicheonsang has appeared frequently in Buddhist art. Animal The existence of which was to benefit the animals fear humans were also frequently used as a material of pattern. When expressed as animal patterns, rather than simply taking only their form. Symbolism has also produced in the human consciousness.[1]
Dragon
Dragon is a mysterious animal made real and imaginal animal's strength. The dragon became accepted as the head of all animals. Because dragon has infinite power, people thought of the dragon as a mysterious creature.
dragon pattern in Korea, 'Jangansa' Buddhist temple
Phoenix
Iran means Phoenix up with a rod and the female, the male sulfur. Love gave birth to the head of the department facilitates all animals is a new imagination.
Fish
The fish pattern means richness. That human use fish pattern guessed at the Stone Age. These customs come to fishing life. In Korea, fish patterns could be searched for stones near a residential area in New Stone Age.[9]
Tiger
Tiger is third of the 12 zodiac animals. It has trusted doughty, greedy, cruel. But it could prevent harmful diseases. In the Joseon dynasty period, there are customs to attach picture drawn tiger patterns in the gate to prevent evil.[1]
Plant patterns
Plants were a good subject because they gave much favour to humans and have a beautiful shape. The main subject of plants is a flower. Without a specific symbol, the flower symbolizes beauty, and thus flower patterns often do not represent a specific flower, but rather a common flower shape.[1]
The lotus is the flower representing Buddhism. It was thought to be a pure symbol because it didn't colour dirty in dirty wetland, And lotus means a disinterested attitude, purification in Buddhism. Lotus carved in the female object is a symbol of creation and reproduction. Also, waterbird can be shown near lotus pattern. This means getting seed of life, in fact, means begetting a son.
chrysanthemum
Chrysanthemum is the oldest flower in the orient. It means high integrity and elegance.
Seven Treasures
When using artificial patterns, the meaning of the symbol was considered more important than the design itself. The Seven Treasures (칠보문) are the most common artificial patterns used. The Seven Treasures signify objects which are considered auspicious. The Seven Treasures include: coin, horn of water buffalo, book, wormwood, ornament used for wrapping cloth (방승,方勝), mirror, and percussion instrument (특경,特磬).[1]
The Seven treasure
Coin means good fortune, a horn of water buffalo means great fortune, diamond for wrapping cloth is for good wishes. The illustrated book is for smooth office life. Wormwood is a kind of medicinal herb and used to light fires, and is attributed to longevity. Mirrors symbolize king or power. The percussion instrument 'teck kyeong' (a kind of idiophone) (특경,特磬) is a traditional Korean instrument made of jade.
The term Seven Treasures may also refer to the seven treasures mentioned in Buddhist texts. These treasures generally included at least some of the following: gold, silver, emerald, coral, agate, lapis lazuli, giant clamshell, glass and pearl.[10]
Natural (Landscape) pattern
Nature patterns are patterns that use things found in nature, excluding animals and plants. Common themes are Sun, moon, and stars. Landscapes and strangely shaped rocks are also common. These patterns usually symbolize longevity, because of their immutability.
Cloud pattern This dragon pattern is used with cloud.
Cloud is the most common nature pattern. In the past, people believed if they pursued virtue while they lived, they could rise to the sky riding a cloud or attain Buddha-hood. Cloud patterns are also used to represent the dragon's divine spirit. Patterns with cranes are usually also seen with clouds in the background.[1]
Cloud patterns are divided into three shapes. The first shape is a cloud being blown in the wind, the second shape is a cloud floating in the sky, and the third is scattered and dotted clouds. These shapes of cloud patterns were different by era. Each pattern reflected different social backgrounds.[11]
Letter pattern
Letter patterns use certain letters as part of the design by continuously placing specific letters. Placing letters with auspicious meanings on an object was believed to bring good luck to the owner. Commonly used letters are: 'Bok (복,福), Hee (희,囍), or Su (수,壽)'.[1]
Letter pattern was carved in Korean patterned savoury cake 'dasik'.
Geometric pattern
Geometric patterns are patterns formed by horizontal, vertical, and diagonal lines, or circles. These patterns can be found as far back as prehistoric times, and are considered to be the most primitive patterns. Tools made in the Neolithic period and Bronze Age have repeated stripes, circles and concentric circles as designs. These patterns are thought to represent the sun, rays of sunlight, and rain. Other geometric patterns include:
Taegeuk pattern and the Eight Trigrams for divination
Taegeuk means development, prosperity by balance of yin and yang (negative and positive).
'Taegeuk' represents ultimate truth that is origin of all creation in Eastern philosophy.[12] It was mainly used in the Joseon dynasty period. The Eight Trigrams for divination is a kind of geometrical symbol representing the basic form of the phenomenal world. Straight line with no break (一) represents 'yang', and Line with a break in the centre (--) represents 'yin (negative)'. One yang sign and two yin sign can be united and two yang sign and one yin sign can be united and each is one of trigrams. The Eight Trigrams for divination is explained all nature phenomenon.[1]
Interlocking circle pattern from 12th century
The use of interlocking circles to form a geometric pattern dates in Korean history at least as far back as the Goryeo period. This same pattern can also be found in Japan where it is called Shippo-tsunagi aka seven treasures.[13] Modern Korean potters, like Shin Sang-ho, have utilized this repeating pattern in double openwork
Complex pattern
This pattern shown in the garment shows the ten traditional symbols of longevity(十長生). All 10 symbols are used in the pattern: sun, mountain, stone, cloud, fine tree, crane, elixir plant, turtle, dear-.
Complex patterns are patterns that show many compounded subjects. For instance, to emphasize the auspicious nature of the dragon, a symbol of defence against evil spirits, it can be depicted with clouds. Also, a common combination is putting apricot blossoms, which represents spring and longevity, together with palgajo (bird), which represents filial piety. Patterns can be arranged by putting ones with similar meanings together, or combining ones with different meanings to create a new symbol.
Shipjangsaengmun (十長生) ten symbols of longevity (십장생)
Shipjangsaengmun, also ship-jangsaengmum, is a common theme in Korean paintings, folding-screens, lacquerware, pottery, and more recently metal gates.[14] All of these elements individually connote longevity throughout East Asia, but it was Korean artists who grouped them into ten, a number that means perfect and full in Asian culture.[15] Typically, on large works, all ten symbols are incorporated into a scene integrating each element. The ten most commonly used symbols along with their Korean translations and brief meaning are:
Sun (해 hae) – Energy of heaven that nourishes life
Mountains (산 san) – Never changing
Water (물 mul) – Flexibility
Clouds (구름 guleum) – Heavenly water without a care
Pine trees (소나무 so-namu) – Vitality, dignity, remains green in winter
Mushroom of immortality (Ganoderma lucidum) - Oriental medicine with supposed health effects
Tortoise or turtles (거북이 geobug-i) – Known for a long life
Deer usually sika deer (사슴 saeseum) – Gentle, peaceful creature and medicine from horns
Red-crowned crane (두루미 dulumi) – Communication with heaven, fidelity
Stone (돌 dol) – Hard and enduring
Bamboo, which also can remain green in the winter and grows quickly, is sometimes used instead of pine trees. Other items which may be incorporated include: peaches – a fruit consumed by the King of Heaven and other immortals to keep them ageless;[16] fish – leisure, success, harmony; fish along with reeds – longevity;[1] and chrysanthemums – nobility rejuvenation.
To accomplish a complete ship-jangsaengmum on a single ceramic vase requires a particular large vase. Further, the larger the vase, the more likely it will not survive the firing process. Korean potter Kim Se-yong reportedly required a decade of failed attempts before finally successfully firing his celadon ship-jangsaengmum vase weighing 157kg (350lbs).[17][18]
Four Gentlemen (Sagunja 사군자)
See full article for the Four Gentlemen also translated as the Four Gracious Plants. It is also a frequent theme in Korean patterns. Rather than integrating all four into a setting, each element is typicity depicted individually especially on the four individual sides of a box or vase.
The national flag of the Republic of Korea, also known as the Taegeukgi, has three parts: a white rectangular background, a red and blue taegeuk in its center, accompanied by four black trigrams, one in each corner. Flags similar to the current Taegeukgi were used as the national flag of Korea by the Joseon dynasty, the Korean Empire, as well as the Korean government-in-exile during Japanese rule. South Korea adopted Taegeukgi for its national flag in 1948.
Bulguksa (Korean: 불국사) is a Buddhist temple on Tohamsan, in Jinhyeon-dong, Gyeongju, North Gyeongsang Province, South Korea.
Buddhist symbolism is the use of symbols to represent certain aspects of the Buddha's Dharma (teaching). Early Buddhist symbols which remain important today include the Dharma wheel, the Indian lotus, the three jewels and the Bodhi tree.
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Korean ceramic history begins with the oldest earthenware from around 8000 BC. Throughout the history, the Korean peninsula has been home to lively, innovative, and sophisticated art making. Long periods of stability have allowed for the establishment of spiritual traditions, and artisan technologies specific to the region. Korean ceramics in Neolithic period have a unique geometric patterns of sunshine, or it is decorated with twists. In Southern part of Korea, Mumun pottery were popular. Mumun togi used specific minerals to make colors of red and black. Korean pottery developed a distinct style of its own, with its own shapes, such as the moon jar or Buncheong sagi which is a new form between earthenware and porcelain, white clay inlay celadon of Goryeo, and later styles like minimalism that represents Korean Joseon philosophers' idea. Many talented Korean potters were captured and brought to Japan during the invasions of Korea, where they heavily contributed to advancing Japanese pottery. Arita ware, founded by Yi Sam-pyeong opened a new era of porcelain in Japan. Another Japanese representative porcelain, Satsuma ware was also founded by Dang-gil Shim and Pyeong-ui Park. 14th generation of Su-kwan Shim have been using the same name to his grandfather and father to honor they are originally Korean, 14th Su-kwan Shim is honorable citizen of Namwon, Korea.
Korean arts include traditions in calligraphy, music, painting and pottery, often marked by the use of natural forms, surface decoration and bold colors or sounds.
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Taegeuk is a Sino-Korean term meaning "supreme ultimate", although it can also be translated as "great polarity / duality". The term and its overall concept is derived from the Chinese Taiji, popularised in the west as the Yin and Yang. The symbol was chosen for the design of the Korean national flag in the 1880s. It substitutes the black and white color scheme often seen in most taijitu illustrations with blue and red, respectively, along with a horizontal separator, as opposed to vertical.
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