Celadon Maebyeong Vase Pair: Double-Wall Openwork with Peony and Chilbo Motifs
Celadon Maebyeong Vase Pair: Double-Wall Openwork with Peony and Chilbo Motifs
Celadon Maebyeong Vase Pair: Double-Wall Openwork with Peony and Chilbo Motifs
Celadon Maebyeong Vase Pair: Double-Wall Openwork with Peony and Chilbo Motifs
Celadon Maebyeong Vase Pair: Double-Wall Openwork with Peony and Chilbo Motifs

Celadon Maebyeong Vase Pair: Double-Wall Openwork with Peony and Chilbo Motifs

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This pair is chosen by those who recognise mastery not as display, but as the quiet discipline required to let light pass through form.

"Where silence gathers in shadow, and every carved opening holds its breath."

This paired set of celadon maebyeong vases is conceived as a meditation on balance—between solidity and void, ornament and restraint, visibility and concealment. Though closely related in form and technique, each vessel retains its own presence, allowing the pair to exist in dialogue rather than symmetry.

Both vases are realised through the highly demanding double-wall openwork technique, known in Korean ceramics as ijung tugak. An inner chamber is first formed, around which an outer wall is constructed and meticulously pierced. This process allows no margin for error: the thickness of each wall, the spacing of every opening, and the overall structural balance must remain exact, or the vessel will fail during firing. What survives is not only the result of skill, but of sustained patience and controlled restraint.

Across the pierced surfaces, peony motifs (mokdanmun) unfold in relief. In Korean tradition, the peony is honoured as the “King of Flowers,” symbolising prosperity, dignity, and the fullest expression of life. Here, the blossoms are not merely decorative. Their rounded petals emerge between latticed openings, dissolving into void and reappearing as form, creating a gentle rhythm in which light and shadow participate equally. The peonies seem to breathe with the vessel, their presence defined as much by absence as by substance.

Subtle applications of white and red slip animate selected petals and buds. These restrained accents sit quietly against the jade-green celadon glaze, lending depth without disrupting the overall calm. Light passes through the openwork, settles briefly on these touches of colour, and moves on—an effect that changes throughout the day and with each viewing.

Interwoven among the lattice are evenly placed crimson dots inspired by the chilbo motif. Traditionally associated with harmony, continuity, and auspicious abundance, chilbo patterns often appear as repeating elements that suggest order without rigidity. Here, they introduce a measured cadence across the surface, grounding the openness of the pierced structure with visual steadiness.

Above and below the openwork body, bands of floral ornament are applied using the sanggam technique. These more densely articulated sections provide moments of repose, anchoring the airy central field and reinforcing the vessel’s compositional balance. The contrast between the carved lattice and the quieter, more solid zones allows the form to settle without becoming static.

The vessels follow the classic maebyeong profile, with generous shoulders tapering into a slender neck. Historically admired for both function and elegance, the maebyeong form was used to hold liquids and seasonal branches alike. In this pair, the silhouette offers continuity with tradition while serving as a disciplined framework for technical experimentation.

Together, these two vases form a unified yet breathing whole. They do not mirror one another precisely, nor do they compete for attention. Instead, they establish a shared field of quiet intensity—where craftsmanship, symbolism, and light converge.

This is not simply a pair of vessels.

It is an encounter with time, patience, and the space between things—

where mastery carves light into silence, and balance is allowed to breathe.

Dimensions

  • Height- 32.5 cm (12.8 inch)
  • Diameter- 22 cm (8.66 inch)

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