The celadon wares of the Goryeo Dynasty occupy a singular position in the history of world ceramics. Among them, the Celadon Inlaid Lotus Scroll Covered Box stands as a compact yet profound work that brings together technical mastery and philosophical depth. Measuring just 5.9 centimeters in height and 7.8 centimeters in diameter, this small powder box encapsulates the refined aesthetic sensibility and worldview of Goryeo society.
This object is a lidded cylindrical bunhap, a powder box used to store powdered cosmetics, incense, or medicinal substances. Far from being a simple container, it reflects a culture in which beauty and order were actively pursued even in the routines of daily life. In Goryeo society, practicality and artistry were not separate domains, but deeply intertwined.
At the heart of its decoration lies the lotus scroll motif (yeondangchomun), a design closely associated with Buddhist symbolism. The lotus, which blooms unstained from the mud, represents purity and enlightenment. As Buddhism formed the spiritual foundation of the Goryeo state, the lotus motif here functions not merely as ornamentation, but as a visual expression of a spiritual worldview.
The lotus buds adorning the body are executed using Sanggam, the distinctive Goryeo inlay technique, in which designs are carved into the clay body and filled with contrasting slips. In this piece, white slip inlay is used for the buds, arranged alternately upward and downward to create rhythmic movement, while black slip inlay forms the scrolling vines that weave seamlessly between them. The sharp contrast of black and white stands out vividly against the celadon’s jade-green glaze, often described historically as the celebrated “kingfisher color,” a hue that drew admiration even beyond the Korean Peninsula.
Sanggam was the key technique that elevated Goryeo celadon to an unparalleled level. Demanding exceptional precision and control, it required not only technical skill but also a refined sense of color balance and composition. The harmony achieved here between white and black inlay exemplifies the aesthetic maturity of Goryeo craftsmanship.
The lid is decorated with equal care. Concentric zones are formed with rings of black dots, chrysanthemum motifs at the center, and additional lotus scrolls along the outer edge. On the side of the lid, chrysanthemum patterns are rendered using the Inhwa (stamping) technique, in which motifs are impressed repeatedly with a stamp. The combination of Sanggam inlay and stamped decoration within a single object demonstrates the advanced technical integration characteristic of mature Goryeo ceramics.
The chrysanthemum, symbolizing longevity, integrity, and moral refinement, adds another layer of meaning. Its coexistence with the lotus suggests the harmonious presence of Buddhist ideals and Confucian virtues within Goryeo society, revealing a culture open to multiple intellectual traditions.
Despite its modest scale, the box displays a density of ornamentation comparable to much larger celadon works. This reflects a fundamental principle of Goryeo craftsmanship: artistic standards were applied consistently, regardless of size. The artisan’s discipline and philosophy did not diminish with scale.
Today, the Celadon Inlaid Lotus Scroll Covered Box stands as more than a museum artifact. It serves as a key to understanding the aesthetic consciousness and spiritual depth of the Goryeo people. Through this small, hand-held object, we are reminded that Goryeo beauty was not confined to monumental architecture, but embedded within the vessels of everyday life.
Reported by News Culture M.J._mj94070777@nc.press
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