The tip of a chisel running along the surface of a metal object creates an orchid opening its petals to gently quiver in the air, two rivaling tigers roaring angrily at each other, or a dragon with a magic pearl in its mouth soaring up into the sky. The delightful sounds of a tiny hammer gently striking the chisel and the delicate movements of the chisel tip lead by an artisan’s skillful hands composes a perfect harmony to produce a wonderful natural landscape. Exquisite patterns and forms made only by a small chisel and a hammer proclaim their exuberance to the world. The glorious history of metal art work in Korea dates back to the Bronze Age. The fine geometrical patterns on a Danyusemun-gyeong (‘Bronze Mirror with Fine Linear Design and Knobs on the Back’), one of the major relics surviving from that age, clearly demonstrates the highly advanced techniques that the ancient Korean metalworkers developed on the peninsula. The art began to develop further once more complex metal work methods arrived from China during the Iron Age. Apart from Chinese influences, Koreans never stopped expanding their own skills, which resulted in the glorious achievements we see today from the treasures of the Silla Dynasty (57 B.C.-935 A.D.), including gold crowns and other ornaments of precious metals used by the Silla royal family. These incredible pieces are highly regarded in terms of both artistic techniques and aesthetic beauty. The introduction of Buddhism in the 4th century, and with it various Buddhist paraphernalia including sarira cases from China and India, propelled forward the development of Korean metal works. The most opulent metal work items from the Three Kingdoms Period (57 B.C.-668 A.D., the period when the three ancient Korean kingdoms, Koguryo, Baekje and Silla, rivaled each other) includes crowns, crown ornaments, earrings, bracelets, rings, belt ornaments, necklaces and swords, as well as Buddhist objects such as sarira cases, miniature pagodas and incense burners. These pieces exemplify the diversity of techniques and styles of Korean metal art work in its early history. Gold Crown of Silla Silla Dynasty, 5-6th Century 27.5cm in height and 17cm in diameter This gold crown from the Silla Dynasty has three uprights in a three-tier 山 shape at the front and both sides of the base ring, two deer-horn ornaments placed vertically at both sides of the back, and three pairs of gold pendants in different lengths dangling down in a symmetrical design. With no similar pattern found anywhere else in the world, this crown exhibits the greatest artistic triumph that one can attain with gold. There are also a number of tiny round golden leaves attached to upright ornaments as well as the base ring that reflect brilliant golden light in different tones. The radiance of golden light creates a wonderful harmony of colors with bluish-green jade droplets attached in intervals. These numerous tiny ornaments fashioned a resplendent dance of colors whenever its wearer made the slightest movement. The metal work of the Goryeo Dynasty (918-1392) also developed through the advent of Buddhist paraphernalia. The main techniques of Goryeo metal art work include wire inlaying, incising bold and fine lines, carving outspots, plastering with borax, and scraping away the background leaving designs in relief. Of them all, the wire-inlaying technique, one that is similar with the inlaying technique of Goryeo celadon ware by which wires of precious metals such as gold and silver are inlaid into incised lines on a metal work’s surface to create a plethora of images, was particularly popular with Goryeo artisans. Remaining relics such as kundika bottles and incense burners inlaid with designs of willow trees and animals clearly show the advanced techniques of Goryeo metal work. The art of Korean metal work further evolved and specialized during the Joseon Period (1392-1910) during which, according to the book Daejeon Hoetong (‘Comprehensive Assembly Code’), about 30% of the entire government-supported artisans in the capital were metalworkers. Bronze Ewer Inlaid with Silver Willow and Birds Design Goryeo Dynasty, 12th Century 37.5cm in height and 12.9cm in diameter at its widest point This ewer, or kundika bottle that was used for offering water to Buddha during prayer services, exhibits a well-proportioned shape with elegant curved lines. It is also one of the greatest remaining Goryeo relics displaying the fine workmanship of the dynasty’s silver-inlaying technique. This practice of inlaying precious metal such as silver into the engraved lines on a metal surface is often compared with the unique inlaying technique of Goryeo celadon pottery. In this ewer, the neck is decorated with a motif of clouds and tree leaves, the silver spout cover with an arabesque design carved using an openwork method, and the main body with a scene of a lakeside featuring a willow tree and ducks, composing a wonderful landscape painting. The inlaid silver lines delightfully contrast the jade blue background created by the rust of the bronze body. The peaceful scene of a fisherman beside a lake that is thick with reeds and birds under and around a willow tree exemplifies serenity for the viewer. View the master's works