{"title":"Other Pottery","description":"","products":[{"product_id":"earthenware-jangdokdae-miniature-set-of-12-pieces","title":"Miniature Onggi Jar Set: 12-Piece Traditional Earthenware Display of Jangdokdae","description":"\u003cp\u003eThe jars are a subkind of Jangdok (or Onggi), a Korean ethnic earthenware. They are used to ferment or simply store comestible goods, typically Kimchi, soybeans, bean and red pepper paste or grains.\u003c\/p\u003e\n\u003cp\u003eJangdok (Hangul: 장독) means “crock” (for condiments and soy sauce) and dae (Hangul: 대) means “place”, “support”... so jangdokdae (Hangul: 장독대) means “place for jangdok(s)”. The jars are called hangari (Hangul: 항아리)or onggi (Hangul: 옹기).\u003c\/p\u003e\n\u003cp\u003eThis place is commonly found directly near traditional Korean houses, more precisely near the kitchen. Sunshine and ventilation are key aspects in the location choice, so that foods can be preserved and kept fresh. Well-preserved ingredients may stay for several years in the jars.\u003c\/p\u003e\n\u003cp\u003eThe board is included with your purchase but may differ from the listing as each board is unique.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ebiggest jar \u003cbr\u003ewidth-5.5cm, height- 6.5cm\u003c\/li\u003e\n\u003cli\u003esmallest part (grinder)\u003cbr\u003ewidth- 2.5cm, height- 3cm\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Miniatures","offers":[{"title":"Set with Wooden Board","offer_id":48778733682919,"sku":"","price":121.0,"currency_code":"USD","in_stock":true},{"title":"Set without Wooden Board","offer_id":48778733715687,"sku":"","price":102.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/CE654A99-D203-4A20-9DD4-78266344A1BA.jpg?v=1708995583"},{"product_id":"miniature-set-of-5-earthenwares-for-hanging","title":"Miniature Earthenware Vase Set: Hanging Ornaments in Traditional Onggi Style","description":"\u003cp\u003eSet of 5 vases can be use as a decoration for your kitchen. It can be hanged or used as real vases for tiny 1 piece of flower, centerpiece for dining. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: 0.875rem;\"\u003e7.5x5cm\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Miniatures","offers":[{"title":"Default Title","offer_id":42681578586343,"sku":"","price":63.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/products\/il_fullxfull.3528750817_byom.jpg?v=1646882116"},{"product_id":"earthenware-jangdokdae-miniature-set-of-17-pieces-장독대-미니어쳐-장식-세트","title":"Earthenware (JangDokDae) Miniature Set of 17 Pieces","description":"\u003cp\u003eThe jars are a subkind of Jangdok (or Onggi), a Korean ethnic earthenware. They are used to ferment or simply store comestible goods, typically Kimchi, soybeans, bean and red pepper paste or grains.\u003c\/p\u003e\n\u003cp\u003eJangdok (Hangul: 장독) means “crock” (for condiments and soy sauce) and dae (Hangul: 대) means “place”, “support”... so jangdokdae (Hangul: 장독대) means “place for jangdok(s)”. The jars are called hangari (Hangul: 항아리)or onggi (Hangul: 옹기).\u003c\/p\u003e\n\u003cp\u003eThis place is commonly found directly near traditional Korean houses, more precisely near the kitchen. Sunshine and ventilation are key aspects in the location choice, so that foods can be preserved and kept fresh. Well-preserved ingredients may stay for several years in the jars.\u003c\/p\u003e\n\u003cp\u003eThe board is included with your purchase but may differ from the listing as each board is unique.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWooden Board (Shape would be sent randomly)\u003cbr\u003eLength -43cm\u003cbr\u003eWidth- 13.5cm\u003cbr\u003eHeight- 3cm\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Miniatures","offers":[{"title":"Set with Wooden Board","offer_id":48779951800551,"sku":null,"price":202.0,"currency_code":"USD","in_stock":true},{"title":"Set without Wooden Board","offer_id":48779951833319,"sku":null,"price":169.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/FDA3E1C4-F865-4477-A774-D9C3434AED6D.jpg?v=1709007026"},{"product_id":"onggi-jar-for-salt-grains-and-rice-3kg-capacity","title":"Onggi Jar: for Salt, Grains, and Rice, 3kg Capacity","description":"\u003cp\u003eA Jar that Holds Tradition and Fortune\u003c\/p\u003e\n\u003cp\u003eThis beautifully crafted Korean Handmade Earthenware Onggi Jar blends practicality with tradition. Perfect for storing essentials like salt, gochujang, doenjang, grains, or rice, this jar is much more than a storage container. It embodies the spirit of the traditional Korean kitchen while adding a rustic yet elegant touch to modern homes. Whether for practical use or as a nostalgic display, the natural clay texture and design of this jar offer warmth and authenticity to any space.\u003c\/p\u003e\n\u003cp\u003eVersatile and Practical\u003c\/p\u003e\n\u003cp\u003eWith a 3kg capacity, this Onggi jar is an ideal tool for preserving your essential kitchen ingredients. The breathable properties of the natural clay keep your goods fresh, whether you’re storing salt, grains, or sauces. For centuries, Onggi jars have been used in Korean homes to maintain the freshness of ingredients. Its tight-fitting lid ensures the quality of the contents, making it perfect for daily use in modern kitchens while keeping the essence of tradition alive.\u003c\/p\u003e\n\u003cp\u003eA Symbol of Blessings in Home Decor\u003c\/p\u003e\n\u003cp\u003eMore than just a functional item, this Onggi jar serves as a meaningful symbol in traditional Korean culture. Historically, placing jars like this in key areas of the home—such as the kitchen or entrance—was believed to bring good fortune, prosperity, and positive energy. It symbolizes abundance, and its presence helps block negative influences while welcoming harmony into the household. Having this jar in your home not only connects you with the past but also brings balance and blessings into your living space.\u003c\/p\u003e\n\u003cp\u003eCreating a Harmonious Interior\u003c\/p\u003e\n\u003cp\u003eThis Onggi jar offers a perfect balance of functionality and beauty, making it an excellent piece of decor for both modern and traditional interiors. Whether you place it in the kitchen, living room, or entryway, its rustic charm enhances the harmony of your space. The natural earthy tones of the clay jar complement any decor, providing a subtle yet significant connection to Korean heritage. It’s not just a storage jar—it’s a statement piece that tells a story of tradition, craftsmanship, and cultural pride.\u003c\/p\u003e\n\u003cp\u003eIdeal for Feng Shui and Harmony in the Home\u003c\/p\u003e\n\u003cp\u003eIn Korean tradition, Onggi jars were often placed in entryways or key areas to bring in positive energy and protect the household. According to principles similar to Feng Shui, this jar embodies the element of earth, promoting stability, protection, and balance. Its placement in the home helps channel good fortune, encouraging a harmonious and peaceful atmosphere. Whether you believe in these traditions or simply appreciate the symbolism, this jar brings deeper meaning and tranquility to your home decor.\u003c\/p\u003e\n\u003cp\u003eA Thoughtful Gift or Heritage Piece\u003c\/p\u003e\n\u003cp\u003eThis Korean Handmade Onggi Jar is more than just a practical storage item—it’s a piece of cultural heritage. It makes for a thoughtful and meaningful gift for collectors of Korean antiques, or for home cooks who appreciate the authenticity of traditional kitchen tools. Whether used functionally or as a decorative piece, this jar is a perfect way to honor and continue the legacy of Korean craftsmanship.\u003c\/p\u003e\n\u003cp\u003eA Legacy of Korean Craftsmanship\u003c\/p\u003e\n\u003cp\u003eEach time you use or display this Onggi jar, you’re reminded of the rich tradition it represents. This jar is not only a functional item but also a timeless connection to the past. Passed down through generations, the Onggi jar carries the essence of Korean pottery, blending the beauty of history with the functionality of modern life. It serves as a bridge between past and present, and will be a treasured piece in your home for years to come.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eDiameter- 18cm (7.08 inch)\u003c\/li\u003e\n\u003cli\u003eBody height- 17cm (6.69 inch)\u003c\/li\u003e\n\u003cli\u003eHeight including Lid 17.5cm (6.89 inch)\u003c\/li\u003e\n\u003cli\u003eInlet diameter 11.5cm 4.53 inch)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Miniatures","offers":[{"title":"Default Title","offer_id":50226025464039,"sku":null,"price":147.8,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/AD450E8A-AB6C-4DB0-839F-EED56AB2C854.jpg?v=1725752791"},{"product_id":"onggi-grinding-bowl-set-heakdok-small-size-mortar-and-pestle","title":"Onggi Grinding Bowl Set (Hwakdok): Small Size, Mortar and Pestle","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis beautifully handcrafted mini Onggi bowl evokes memories of traditional Korean kitchens, where grandmothers or mothers spent time grinding garlic, hot peppers, and other spices. Its rough interior texture ensures that spices are ground to perfection, just like in the kitchens of old, where the aroma of freshly prepared meals filled the home with warmth and care. This bowl is more than a tool—it is a bridge to the past, connecting you to your heritage through the simple yet meaningful act of food preparation.\u003c\/p\u003e\n\u003cp\u003eA Nostalgic Piece of Tradition:\u003cbr\u003eUsing this grinding bowl is an experience rooted in nostalgia. For many, it conjures the image of watching their mother or grandmother carefully preparing ingredients for family meals. The repetitive, soothing motion of grinding, combined with the earthy, natural feel of the Onggi, brings a sense of calm and remembrance, evoking a time when meals were crafted with love and patience. The bowl stands as a symbol of tradition, a gentle reminder of the rituals that define Korean family life.\u003c\/p\u003e\n\u003cp\u003eFunctional Yet Decorative:\u003cbr\u003eWhether you choose to use this mini Onggi bowl as a practical kitchen tool or as a beautiful decorative piece, it carries a timeless appeal. The rustic charm of the earthenware enhances any space, bringing a touch of tradition to modern homes. Displaying it in your kitchen or on a shelf allows you to share the rich history of Korean craftsmanship and food culture, creating a conversation piece that holds meaning and history.\u003c\/p\u003e\n\u003cp\u003eReconnecting with Tradition in Modern Kitchens:\u003cbr\u003eFor those who love to bring authenticity into their culinary practices, this grinding bowl offers more than functionality—it provides an opportunity to reconnect with the past. As you grind spices or garlic, you can feel the connection to generations before, who relied on the same methods to prepare the dishes that are still cherished today. It brings an element of tradition and care to modern kitchens, allowing you to create meals with an added layer of meaning.\u003c\/p\u003e\n\u003cp\u003eA Thoughtful Gift for Collectors and Cooks:\u003cbr\u003eThis mini Onggi grinding bowl makes for an excellent gift for anyone who appreciates the rich traditions of Korean culture or for the home cook who wants to infuse their culinary experience with history. It’s not just a functional item but a keepsake that holds stories, memories, and tradition. Whether for a collector of Korean antiques or a lover of authentic cooking tools, this grinding bowl is a perfect addition to any home.\u003c\/p\u003e\n\u003cp\u003eTimeless Keepsake:\u003cbr\u003eEach use or display of this bowl serves as a gentle reminder of the long-standing traditions it represents. Whether you recall watching your grandmother grinding garlic with practiced hands or use it in your own kitchen to prepare traditional recipes, this Onggi grinding bowl is a piece of history. Its enduring presence ties the past to the present, making it a cherished keepsake for generations to come.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eDiameter- 15cm (5.91 inch)\u003c\/li\u003e\n\u003cli\u003eHeight- 5.5cm (2.17 inch)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Miniatures","offers":[{"title":"Default Title","offer_id":50233936707815,"sku":null,"price":77.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/56F682F4-C78A-474C-8FE4-FD0D06351430.jpg?v=1725915337"},{"product_id":"unglazed-ceramic-openwork-vase-set-grand-scale-peony-motif-with-three-color-slip","title":"Unglazed Ceramic Openwork Vase Set: Grand-Scale, Peony Motif with Three-Color Slip","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eThis set is chosen by those who understand that the most persuasive beauty is often held in restraint rather than display.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\"The flowers do not sit upon the vessels; they seem to have been coaxed slowly out of the clay.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCreated by the Icheon ceramic artist \u003cspan class=\"s1\"\u003e\u003cb\u003eGeunjeong Lee Sang-bong\u003c\/b\u003e\u003c\/span\u003e, this large-scale ceramic set unites the \u003cspan class=\"s1\"\u003e\u003ci\u003emaebyeong\u003c\/i\u003e\u003c\/span\u003e and \u003cspan class=\"s1\"\u003e\u003ci\u003ejubyeong\u003c\/i\u003e\u003c\/span\u003e in a work that is both materially grounded and technically ambitious. Its importance lies not only in motif or scale, but in the decision to depart from a conventional finished surface. Using a clay body associated with Buncheong ware, the artist leaves the vessels unglazed after firing. They were made this way so that the tactile and structural truth of the clay would remain present, rather than being sealed beneath a polished skin.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis choice governs how the work is seen. An unglazed surface absorbs light instead of casting it back. Because of this, the vessels do not announce themselves through sheen. They ask instead for slower looking: for the eye to register grain, incision, relief, dryness, and the subtle depth of the fired body. What first appears floral gradually reveals itself as a study in material discipline.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe decoration follows the same logic. After an initial firing, three colours of slip are laid onto the surface to define the peony branches, white petals, red stamens, and selected leaves. The body is then carved by hand so that the clay reappears between and around the motif. This is why the flowers do not feel pasted onto the vessel. They were made this way so that ornament and form would not stand apart from one another. The motif is embedded in the vessel’s skin, and the vessel in turn seems to carry the memory of its own making.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe openwork sections introduce a second layer of difficulty and meaning. Relief carving gives the floral forms their contour and density, but piercing creates interruption: openings of shadow, breath, and light בתוך the mass of clay. Structurally, this is a precarious act. The more the body is cut, the more carefully drying and firing must be judged to prevent movement or collapse. Yet visually, this risk is precisely what allows the work to breathe. The flowers gather fullness, but the pierced intervals keep that fullness from becoming closed or heavy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe peony has long occupied a place of honour in Korean visual culture, signifying prosperity, beauty, dignity, and the fullness of life. In many works it appears with overt splendour. Here, however, it is deliberately moderated. The artist appears to have made the work this way in order to test whether the peony could retain its cultural richness while entering a more austere material language. The result is compelling because neither side overwhelms the other. The motif prevents the clay from becoming mute; the unglazed body prevents the motif from becoming decorative excess.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe pairing of vessel types sharpens this reading. The \u003cspan class=\"s1\"\u003e\u003ci\u003emaebyeong\u003c\/i\u003e\u003c\/span\u003e gathers mass and concentration, its fuller body giving the composition a sense of inward gravity. The \u003cspan class=\"s1\"\u003e\u003ci\u003ejubyeong\u003c\/i\u003e\u003c\/span\u003e rises more narrowly and releases the eye upward. Seen together, the two forms create a measured exchange between containment and extension. One vessel seems to hold the floral world close; the other lets it ascend. The set therefore unfolds not as duplication, but as conversation.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhat finally distinguishes the work is the way technical experiment is made to serve visual quietness. Nothing in it feels demonstrative, although its execution is plainly difficult. The unglazed surface, the relief carving, the three-colour slip, and the openwork piercing all require command, yet the work does not present itself as virtuosity. It presents itself as presence.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThis is why the set remains memorable. It does not rely on gloss to produce elegance, nor on volume to produce grandeur. Instead, it allows clay, incision, and controlled floral abundance to speak together. The result is not a Buncheong work in the narrow sense, but a thoughtful extension of a Buncheong-associated material language into something more experimental, dry, and quietly monumental.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMae Byeong\u003cbr\u003eHeight- 44 cm (17.32 inch)\u003cbr\u003eDiameter- 24 cm (9.45 inch)\u003c\/li\u003e\n\u003cli\u003eJu Byeong\u003cbr\u003eHeight- 42.5 cm (16.73 inch)\u003cbr\u003eDiameter- 21 cm (8.27 inch)\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRelated Links\u003c\/strong\u003e\u003c\/p\u003e","brand":"ArtinKo","offers":[{"title":"Default Title","offer_id":51883551850727,"sku":null,"price":1463.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/buncheong-grand-vase-set.jpg?v=1773780734"},{"product_id":"silla-earthenware-roof-end-tile-gwimyeonwa-demon-face-mask-motif","title":"Silla Earthenware Roof-End Tile (Gwimyeonwa): Demon-Face Mask Motif","description":"\u003cp\u003eRidge-end roof tile in moulded earthenware, decorated with a beast mask ('kwimyon') to ward off evil spirits. Unglazed.\u003c\/p\u003e\n\u003cp\u003eThis roof-tile is the ridge-end tile that was placed at the four corners of the hip-and-gable roof of Unified Silla buildings. Ridge-end tiles were used to cover the end of diagonals that descend from the main ridge.\u003c\/p\u003e\n\u003cp\u003eDemon-faced tiles such as this one were laid at both ends of the main ridge of a hip-and-gable roof, as shown by the semicircular curve at the center of the base. Demon motifs were meant to repel evil forces from the house.\u003c\/p\u003e\n\u003cp\u003eSungbok Temple\u003cbr\u003eSouth Korea: Gyeongsangbuk-do (province): Gyeongju: Sungbok Temple\u003c\/p\u003e\n\u003cp\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1992-0615-24\u003c\/p\u003e\n\u003cp\u003eDimensions:\u003cbr\u003eHeight- 13cm\u003cbr\u003ewidth- 13cm\u003cbr\u003ethickness- 2cm\u003cbr\u003eweight- 606gr\u003c\/p\u003e","brand":"ArtinKo","offers":[{"title":"Default Title","offer_id":51894009266407,"sku":"ART1000","price":130.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/Korean-traditional-art.jpg?v=1774020475"},{"product_id":"silla-earthenware-paired-horse-and-rider-vessels-with-master-and-attendant-figures","title":"Silla Earthenware: Paired Horse-and-Rider Vessels with Master and Attendant Figures","description":"\u003cp\u003e\u003cstrong\u003eThis pair is chosen by those who look for structure beneath image, and who recognise that a culture often reveals itself most fully in the relations it gives form to.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Two riders stand here in silence, yet the space between them is already full of meaning.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis paired horse-and-rider vessel set belongs to one of the most remarkable formal inventions of ancient Korean pottery, in which the horse becomes both bearer and container, and the rider becomes both image and social sign. Yet the true force of the pair lies not in the distinctiveness of either work alone, but in the fact that they must be read together. One figure is understood as master, the other as attendant. One embodies status and composed authority; the other accompaniment, service, and the logic of procession. Their relationship transforms the objects from individual mounted vessels into a social order shaped in clay.\u003c\/p\u003e\n\u003cp\u003eFormally, the two works are closely related. Each horse provides a broad central mass, rounded through the torso and firmly anchored by planted legs. Each head projects forward, creating directional tension, while the mounted figure rises above in a restrained vertical accent. This shared structure is important. It creates kinship between the two vessels and makes clear that they belong to the same ceremonial world. But within this structural kinship, difference begins to operate. The master figure is more self-contained, more settled in symbolic authority. The attendant figure, by contrast, carries a modesty of bearing that makes him read as responsive rather than central. The pair was made in this way because hierarchy in Silla visual culture was often articulated through poise and placement rather than exaggeration.\u003c\/p\u003e\n\u003cp\u003eThe vessels opening from the horses’ backs should be read not as incidental additions, but as the point at which utility and cosmology meet. These forms descend from a ceramic tradition in which container, animal, and human presence could coexist within one coherent body. That joining matters. It means the object is never only representational. Even when encountered now as a sculptural work, it preserves the memory of use, offering, libation, and funerary purpose. The horse is therefore not only a mount, but a carrier in the fullest sense: of liquid, of rank, of ritual, and of passage.\u003c\/p\u003e\n\u003cp\u003eIt is in the pairing itself, however, that the deepest symbolic reading emerges. In Silla funerary thought, the horse was linked to mobility between realms and to the escorting of the deceased on the journey beyond death. Once that belief is brought into view, the relationship between the two figures becomes especially resonant. The master does not travel alone; the attendant does not merely follow. He prepares, guides, accompanies, and makes visible the social structure that surrounds rank. Together, the pair condenses an entire worldview: one in which authority remains inseparable from service, and where even death is imagined through order rather than rupture.\u003c\/p\u003e\n\u003cp\u003eThis is why the space between the two objects matters so much when they are displayed together. They are not simply adjacent. They activate one another. The master figure gains context through the attendant’s presence; the attendant figure gains dignity through the master’s. Each clarifies the other. Without the pair, one might read only status or only motion. Together, one perceives procession. That experiential shift is central to the work’s power. The eye moves from one horse to the other, from command to accompaniment, from singular image to relational meaning.\u003c\/p\u003e\n\u003cp\u003eMaterially, the dark earthen surface sustains this reading with remarkable discipline. The matte body does not seek polish or brilliance. It absorbs light and allows the modelling to emerge slowly: the swell of the horse’s flank, the projecting muzzle, the incised hanging panels, the simplified faces, the restrained articulation of tack and harness. The works reward patient looking because their force lies in proportion and mass, not in surface display. This sobriety is not merely aesthetic. It is emotional. It keeps the pair grave, lucid, and inwardly concentrated.\u003cbr\u003eIt is this quality — the sense of an ancient relational logic only partially preserved — that drew Kim Hyun-gyu to restore the pair rather than the individual vessel.\u003c\/p\u003e\n\u003cp\u003eKim Heon-gyu’s contribution is particularly clear in this double presentation. Under the spirit of 법고창신, he does not merely reproduce a celebrated type. He restores the relational logic that gave the original form its cultural life. His long familiarity with clay, inherited through lived making and sustained through decades of devotion to Silla and Gaya earthenware, allows these works to retain both archaeological memory and present vitality. They do not feel like replicas detached from use. They feel like old thought carried forward through the hand.\u003c\/p\u003e\n\u003cp\u003eWhat finally distinguishes this pair is the completeness of its human imagination. The master figure alone speaks of rank. The attendant alone speaks of duty. Together they speak of a world: ordered, solemn, ceremonial, and deeply aware that passage requires accompaniment. In that sense, these vessels do more than recall ancient Silla earthenware. They make visible a moral structure in which status, service, and the journey beyond life remain bound to one another in enduring clay.\u003c\/p\u003e\n\u003cp\u003e*Historical Note\u003cbr\u003eThis pair draws on the celebrated Silla horse-and-rider vessels designated National Treasure No. 91, excavated from Geumnyeongchong Tomb in Gyeongju. Dated to the early sixth century, the original works are among the most important surviving examples for understanding Silla funerary culture, social hierarchy, and the symbolic role of the horse in the journey beyond death. The paired figures are generally understood as master and attendant, with the attendant associated with escort or guidance within the funerary procession.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e Master\u003cbr\u003eWidth- 30cm (11.81 inch)\u003cbr\u003eHeight- 24cm (9.45 inch)\u003cbr\u003eDepth- 10cm (3.94 inch)\u003c\/li\u003e\n\u003cli\u003eAttendant\u003cbr\u003eWidth- 29cm (11.42 inch)\u003cbr\u003eHeight- 23cm (9.05 inch)\u003cbr\u003eDepth- 9.5cm (3.74 inch)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRelated Links:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/www.artinko.com\/collections\/silla-gaya-earthenware-reproductions\" title=\"silla-gaya-earthenware-reproductions\"\u003eSilla \u0026amp; Gaya Earthenware\u003c\/a\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Whole Set","offer_id":52014373273831,"sku":null,"price":984.0,"currency_code":"USD","in_stock":true},{"title":"Master","offer_id":52014373306599,"sku":null,"price":498.0,"currency_code":"USD","in_stock":true},{"title":"Attendant","offer_id":52014373339367,"sku":null,"price":498.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/886C1361-A7F0-4F78-B198-DEF726D8C647.jpg?v=1777294550"},{"product_id":"silla-earthenware-auspicious-beast-shaped-vessel","title":"Silla Earthenware: Auspicious Beast-Shaped Vessel","description":"\u003cp\u003e\u003cstrong\u003eThis work is chosen by those who recognise that the most revealing forms in a culture are often the ones that refuse to become entirely familiar.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“In this dark vessel, the animal world and the ritual world gather into one restless body.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis auspicious beast-shaped vessel belongs to the exceptional category of Silla earthenware in which pottery moves beyond straightforward utility and enters a more visionary sculptural language. It is called a beast-shaped vessel, yet even that title remains only partly sufficient. The creature cannot be fixed with certainty. Its broad body suggests a grounded, almost turtle-like basis; its head and tail move towards the dragon; its projecting elements and pendant attachments create a ceremonial intensity that belongs less to natural description than to symbolic invention. This uncertainty is not a problem to be resolved. It is the point. The object was made in this way because symbolic power in early Korean visual culture was often expressed through hybridisation, through forms that gathered several meanings into one body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe head is the primary site of expressive force. It rises sharply in an S-curve, lifting the vessel into animation before one has even taken in its functional structure. The enlarged eye, curled lips, and extended tongue create a face that is emphatic rather than naturalistic. It appears alert, vocal, almost admonitory. Behind this head, pointed projections continue down the neck and across the back, establishing a serrated rhythm that keeps the silhouette visually alive. The tail answers this upward energy differently: segmented, wave-like, and extended almost horizontally, it stabilises the rear of the form while retaining its own creaturely tension. These features matter compositionally. They prevent the object from settling into simple symmetry and instead create a circuit of directional energies around the central body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat central body is where the vessel logic emerges. The broad torso serves as the main container; a long spout projects from the chest; and a bowl-like cup rises from the rear upper surface. The beast therefore does not merely carry a vessel function added onto it. It becomes the vessel. This integration is essential. In Silla earthenware, some of the most compelling forms are those in which container and image cannot be separated. Here, pouring, holding, displaying, and signifying are all fused. The work can be understood as a kind of ewer, yet its symbolic character exceeds ordinary utility. One senses that it was shaped not for everyday convenience, but for ritual use, offering, or burial context — situations in which form itself could carry meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe hanging ornaments deepen that reading. Suspended from the body in linked loops, they introduce an element of mobility and acoustic potential. They are not merely decorative appendages. They activate the perimeter of the object and amplify its ceremonial presence. Equally important is the flared foot, pierced with square openings. This foot does more than support the vessel. It sets the body apart from the ground, giving it a raised and almost staged bearing. The result is that the creature seems not simply placed, but installed — as though occupying a small ritual platform of its own.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts significance lies precisely in its status as an auspicious mythical beast: a hybrid being associated with protection, good fortune, and charged symbolic presence. Such creatures do not function as neutral fantasy animals. They belong to a field of meaning in which vigilance, blessing, and power are gathered into one form. This vessel embodies that logic. Its hybrid body, emphatic head, ring ornaments, and sharpened projections combine to create an image of alertness and potency. Even where the form may allude to the dragon, it does not settle into a single mythological identity. It remains open, and therefore powerful.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMaterially, the dark blackish-grey earthen surface is indispensable to the effect. It absorbs light and holds form with sobriety, allowing the silhouette to dominate perception. This is not an object that depends on colour or glaze for its authority. Its power lies in modelling, proportion, and the tension between rounded volume and projecting detail. The dark surface also reinforces the object’s archaic force. It feels close to earth and fire, carrying the physical memory of making without smoothing away its gravity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is precisely that archaic force — the strangeness the original refuses to surrender — that Kim Heon-gyu chose not to resolve.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKim Heon-gyu’s interpretation is particularly persuasive here because it honours both the formal daring and the ritual inwardness of the ancient source. Rather than treating the past as something fixed, he works through a process of renewal rooted in deep learning from older forms. He studies them closely, then brings them back into the present through a renewed act of making. In this work, he preserves the strangeness of the original type — its refusal to become fully legible, its balance of function and emblem, and its talismanic intensity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat finally gives this vessel its force is the fact that it never resolves into one thing. It is creature and container, guardian and utensil, image and instrument. That unresolved condition is what makes it so fully Silla in spirit. It allows clay to become more than matter: a bearer of auspicious energy, ritual imagination, and a worldview in which the visible and the unseen remained in constant conversation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHistorical Note\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis work draws on the celebrated Silla \u003c\/span\u003e\u003cspan\u003eauspicious beast-shaped vessel\u003c\/span\u003e\u003cspan\u003e designated \u003c\/span\u003e\u003cspan\u003eTreasure No. 636\u003c\/span\u003e\u003cspan\u003e, now in the \u003c\/span\u003e\u003cspan\u003eGyeongju National Museum\u003c\/span\u003e\u003cspan\u003e. Associated with \u003c\/span\u003e\u003cspan\u003esixth-century Silla\u003c\/span\u003e\u003cspan\u003e, the original is valued as one of the most inventive examples of shaped earthenware, combining vessel function with the image of a hybrid auspicious creature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWidth- 21cm (8.27 inch)\u003c\/li\u003e\n\u003cli\u003eHeight- 17.5cm (6.89 inch)\u003c\/li\u003e\n\u003cli\u003eDepth- 13cm (5.12 inch)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Default Title","offer_id":52016555098343,"sku":null,"price":408.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/83E42A96-CE5F-4229-B4B8-E9DB4655D871.jpg?v=1777381944"},{"product_id":"gaya-earthenware-horse-and-rider-vessel-with-twin-horn-cup","title":"Gaya Earthenware: Horse-and-Rider Vessel with Twin Horn Cup","description":"\u003cp\u003e\u003cstrong\u003eThis work is chosen by those who understand that form becomes most revealing when it is asked to carry more than one order of meaning at once.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“A warrior rides forward, yet the true drama lies in the upright stillness behind him.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis horse-and-rider vessel belongs to one of the most compelling formal languages in ancient Korean pottery, where representation and use are not separate categories but mutually sustaining ones. At its centre is a mounted warrior, but the work does not unfold as a figurine placed upon a vessel. Rather, horse, rider, cups, platform, and pedestal are conceived as interdependent parts of a single structure. It was made in this way because the object was required to do several things at once: to embody martial presence, to function as a container, and to stand as an object of ceremony.\u003c\/p\u003e\n\u003cp\u003eThe composition begins at the pedestal. Its flaring form recalls the elevated vessels associated with Gaya pottery, and the pierced apertures reduce visual weight while preserving stability. This is not merely a support. It establishes the principle of elevation. Above it sits a rectangular plate-like body, unusually flat and architectural, which turns the horse into something more than an animal body alone. The work is therefore built in registers: base, platform, animal, rider, vessel. This upward progression is crucial. It guides the eye from grounded stability towards ceremonial height.\u003c\/p\u003e\n\u003cp\u003eThe horse is treated with particular intelligence. Rather than being modelled as a fully natural creature, it has been compressed into a more structural form, its flanks becoming planar and armour-like, its body reading almost as a protected chamber. The incised grid of the body, the disciplined fall of the mane, and the exacting tack give it an armoured and almost architectural character. This is entirely appropriate. In Gaya culture, the horse was inseparable from mobility, rank, and military authority. Here that relation is condensed into a form that is both animal and bearer, both presence and support.\u003c\/p\u003e\n\u003cp\u003eThe rider is equally telling. He does not dominate through scale, but through equipment and placement. Helmeted, armed with spear and shield, and seated in stable vertical relation to the horse, he reads not as an incidental staffage figure but as the axis of the composition. The shield is especially meaningful. Its ceramic description preserves the memory of a martial object no longer available to us in the same direct material continuity, which is why works of this kind are so important to the study of Gaya arms and horse gear. The figure was made in this way so that military identity would be legible not through narrative action, but through emblematic clarity.\u003c\/p\u003e\n\u003cp\u003eYet the object would be incomplete if it ended there. Behind the rider rise the twin horn cups, and it is at this point that the work changes from an image of mounted power into a ceremonial vessel. Their paired, flaring bodies create a second visual rhythm within the object. The horse projects forward; the cups rise upward. One movement implies advance, the other offering. The composition is therefore not linear but tensile. It holds together momentum and stillness, worldly rank and ritual function. Although the cups can contain liquid, they do not primarily declare everyday use. Their position and prominence suggest a more formal, possibly ceremonial role, where containment is inseparable from symbolic charge.\u003c\/p\u003e\n\u003cp\u003eThis interaction between rider and cups also alters the emotional reading of the piece. The armed figure suggests readiness, defence, and worldly order. The cups behind him introduce another register: libation, rite, presentation, or offering. The vessel thus becomes a compact expression of a culture in which martial authority was not isolated from ceremonial life. One can sense that the object was made not simply to depict a warrior on horseback, but to give material form to the larger system of values in which mounted power took meaning.\u003c\/p\u003e\n\u003cp\u003eThe matte dark surface is essential to this reading. It holds the work together by resisting seduction through surface brilliance. Light catches only gradually along the incised armour, the rims of the cups, the edges of the shield, and the profile of the horse’s head. This means that the object does not disclose itself all at once. It asks for slow looking. One begins with silhouette, then passes to structure, then to detail. This measured revelation is part of its dignity.\u003c\/p\u003e\n\u003cp\u003eKim Heon-gyu’s contribution lies precisely in recognizing that such a work cannot be revived through outward copying alone. His long commitment to Silla and Gaya earthenware allows him to recover not only the appearance of older forms, but the logic that gave them coherence. He approaches the past through close study and renewed making, so that the result retains both archaeological memory and living tactile force. The work does not feel like a static replica of a museum type. It feels like an ancient ceramic intelligence carried forward into the present.\u003c\/p\u003e\n\u003cp\u003eWhat finally distinguishes this vessel is the completeness of its internal order. The pedestal lifts, the platform steadies, the horse bears, the rider declares, and the twin cups consecrate. Each part explains the others. In this way, the work offers more than an image from ancient Gaya. It offers an entire structure of meaning — one in which rank, function, and ceremony are joined in fired clay with unusual discipline and force.\u003c\/p\u003e\n\u003cp\u003eHistorical Note\u003c\/p\u003e\n\u003cp\u003eThis work draws on the well-known Gaya horse-and-rider vessel with twin horn cups, dated to the 5th century and designated National Treasure No. 275. The original is preserved in the collection of the Gyeongju National Museum and is regarded as an important source for the study of Gaya horse trappings, weaponry, and ceremonial earthenware of the Three Kingdoms period.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWidth- 14cm (5.51 inch)\u003c\/li\u003e\n\u003cli\u003eHeight- 19.5cm (6.89 inch)\u003c\/li\u003e\n\u003cli\u003eDepth- 10cm (3.94 inch)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRelated Links:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/www.artinko.com\/collections\/silla-gaya-earthenware-reproductions\" title=\"silla-gaya-earthenware-reproductions\"\u003eSilla \u0026amp; Gaya Earthenware\u003c\/a\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Default Title","offer_id":52017972838631,"sku":null,"price":498.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/81939E31-48CE-4927-ABB4-12D78F084A37.jpg?v=1777436078"},{"product_id":"unglazed-ceramic-maebyeong-jar-with-lid-inlaid-plum-blossom-branches","title":"Unglazed Ceramic Maebyeong Jar with Lid: Inlaid Plum Blossom Branches","description":"\u003cp\u003e\u003cstrong\u003eThose who choose this work tend to recognise beauty where refinement has been deliberately held back.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The vessel stands like a remembered winter tree, rooted in earth and carrying the first signs of renewal.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eKorean Unglazed Ceramic Maebyeong Jar with Lid: Inlaid Plum Blossom Branches by Lee Sang-bong of Icheon is a ceramic work that draws together several layers of Korean material memory. It uses the noble outline of the maebyeong, the symbolic language of plum blossom, the tactile force of unglazed fired clay, and the ancient echo of combed surface marking.\u003c\/p\u003e\n\u003cp\u003eThe form is central to the reading of the work. A maebyeong is not simply a jar shape; it is a form built on controlled tension. The narrow foot gives the object lift, the swelling shoulder creates volume, and the contracted mouth draws the eye upward. Lee uses this structure as a living ground for the plum branch. The branch does not merely decorate the body. It begins low, climbs across the vessel, turns with the rounded shoulder, and continues onto the lid. The composition therefore asks to be viewed slowly, by rotation rather than by a single frontal glance.\u003c\/p\u003e\n\u003cp\u003eThe plum tree is arranged asymmetrically, which gives the vessel its sense of growth. The dark branches move with angular strength, while the small white blossoms interrupt them with points of softness. The red clay centres within the flowers are restrained, almost hidden at first, but they give warmth to the otherwise quiet palette. This relationship between branch and blossom is important: the branch suggests endurance; the blossom suggests renewal. Together they form one of the most enduring symbolic pairings in Korean and East Asian literati culture, where the plum blossom is admired for flowering in cold weather and for carrying a sense of uprightness, purity, and perseverance.\u003c\/p\u003e\n\u003cp\u003eThe making process deepens this symbolism. After the first firing, the plum branches were worked into the surface, and the flowers were formed with white and red clay. The work was then fired again without glaze. By leaving the surface unglazed, the artist refuses the luminous glass-like skin of celadon and the softened white-clay decorative presence associated with buncheong. Instead, the jar remains close to the nature of clay itself. It has the quiet dryness of earthen material, yet because it has undergone high-temperature firing, it carries a firmness and durability beyond its modest appearance.\u003c\/p\u003e\n\u003cp\u003eThe combed texture is one of the most compelling aspects of the work. These fine vertical marks do more than animate the surface. They recall ancient Korean comb-pattern pottery, bringing into the vessel a memory of early ceramic culture. Around the plum branches, the combed lines act almost like weather: rain, bark, field, or time passing across clay. They give the blossoms a ground from which to appear, and they prevent the design from becoming merely pictorial. The surface remains ceramic before it becomes image.\u003c\/p\u003e\n\u003cp\u003eThe lid changes the work’s emotional register. With the lid in place, the jar feels complete, sealed, and watchful. The plum branch continuing across the lid links upper and lower parts, so the closure does not interrupt the design but completes its ascent. When the lid is removed and placed beside the vessel, the work becomes more intimate. One begins to understand it not only as a sculptural form, but as a vessel with an interior, a mouth, a possible act of opening. This movement between closed and opened states gives the piece a quiet ritual character.\u003c\/p\u003e\n\u003cp\u003eThere is a notable restraint in the whole composition. The blossoms are numerous but not lavish. The branch is bold but not theatrical. The unglazed clay resists surface brilliance, and the combed lines slow the eye rather than dazzling it. The work’s refinement comes from this discipline. It does not separate elegance from earth; it lets elegance emerge from earth.\u003c\/p\u003e\n\u003cp\u003eLee Sang-bong’s jar holds together two different times: the ancient memory of combed pottery and the cultivated symbolism of the plum blossom. Between them stands the maebyeong form, poised and human in scale, carrying the presence of a vessel that has been shaped not for spectacle, but for long attention.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eHeight- 40cm (15.75 inch)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eDiameter- 20cm (7.87 inch)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRelated Links\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/www.artinko.com\/blogs\/korean-culture\/about-celadon\" title=\"About Celadon\"\u003eAbout Celadon\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artinko.com\/collections\/master-artisan\" title=\"Master Artisan’s Collection\"\u003e\u003cspan\u003eMaster Artisan’s Collection\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Celadons","offers":[{"title":"Default Title","offer_id":52033813381351,"sku":null,"price":565.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/4FC34906-7EEE-4D6C-B049-F98278D1D06F.jpg?v=1777851872"},{"product_id":"silla-earthenware-long-necked-jar-horse-motif-with-ring-ornaments","title":"Silla Earthenware Long-Necked Jar: Horse Motif with Ring Ornaments","description":"\u003cp\u003e\u003cstrong\u003eThis work is chosen by those who understand that the most enduring forms often say the most through reduction.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Here, the horse does not race; it passes in silence around the curve of the jar.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis long-necked Silla earthenware jar is compelling because it joins architectural clarity with a remarkably light touch of image. Its structure is almost classical in its discipline: a full rounded body, a sharply gathered shoulder, a tall neck, and a raised foot with square piercings that give the lower edge both lift and air. Such a form might easily have remained wholly austere. Instead, it is given a narrow band of incised horses and a set of suspended ring ornaments near the neck. These additions do not interrupt the vessel’s discipline. They reveal it.\u003c\/p\u003e\n\u003cp\u003eThe incised horse motif is especially telling. The animals are rendered with extreme economy, reduced to a few engraved lines that define head, back, leg, and tail without insisting on detail. This matters greatly. The horse is one of the most charged animal images in the visual world of ancient Korea, particularly in relation to Silla culture, where it could suggest movement, status, ceremonial passage, and a broader world of mobility and power. Yet here the horse is not monumentalised. It is abbreviated. That abbreviation is what gives the motif its sophistication. Rather than being illustrated, the horse is remembered through line. The jar does not become pictorial; it remains sculptural.\u003c\/p\u003e\n\u003cp\u003eThat balance between image and volume is the key to the work. The shoulder band provides a zone of visual animation precisely at the point where the vessel begins to turn from neck to body. As light moves across the curved surface, the incised horses appear and recede, never entirely fixed. The viewer does not read them all at once, but in passing. This creates an experience that is almost processional. One turns around the vessel as the horses do. The composition is therefore not frontal, but circumferential. It unfolds through movement around the form.\u003c\/p\u003e\n\u003cp\u003eThe suspended ornaments at the neck deepen this reading in another way. They introduce an element of attachment and motion not through image, but through structure. Their chain-like descent and small pendants create vertical interruptions against the otherwise smooth contour, catching shadow and adding a restrained ceremonial note. They also connect the jar to a broader language of Silla earthenware in which hanging detail could enliven a profile without crowding it. Here, they serve as a subtle counterpoint to the incised horses below: one motif is drawn into the body, the other hangs away from it.\u003c\/p\u003e\n\u003cp\u003eMaterially, the jar gains much of its authority from its dark fired surface. Kim Heon-gyu’s Silla and Gaya earthenware is fired at high temperature in a pine-fuelled wood kiln, a process that gives the clay its characteristic dark tonality. The finish tends towards matte restraint, though the unpredictability of flame may leave slight tonal or textural shifts across the surface. This is crucial to the experience of the work. The jar does not rely on glaze, colour, or overt polish. Its power lies in contour, incision, and the slow emergence of detail through light.\u003c\/p\u003e\n\u003cp\u003eKim Heon-gyu’s achievement here is not simply that he reproduces an early Silla type. It is that he recognises what makes such a form culturally alive: the restraint of the profile, the symbolic charge of a minimally rendered horse, the relation between austere body and moving ornament, and the sense that utility and presence remain joined. He studies older forms closely, but what returns through his hand is not archaeological stiffness. It is ceramic intelligence made active again.\u003c\/p\u003e\n\u003cp\u003eWhat finally distinguishes this jar is the discipline with which it holds animation in reserve. The horses move, but only through incision. The ornaments hang, but only slightly away from the body. The vessel stands still, yet everything about it suggests passage. In that tension lies its quiet force: a Silla form that carries movement, rank, and memory without ever surrendering its composure.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eDiameter- 18cm (7.08 inch)\u003c\/li\u003e\n\u003cli\u003eHeight- 24cm (9.45 inch)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Default Title","offer_id":52075954471143,"sku":null,"price":345.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/E4A5C8B1-CFBB-486B-905C-845E4264C31E.jpg?v=1779053083"},{"product_id":"silla-earthenware-horn-cup-vessel-twin-horn-shaped-cups-on-rectangular-stand","title":"Silla Earthenware Horn-Cup Vessel: Twin Horn-Shaped Cups on Rectangular Stand","description":"\u003cp\u003e\u003cstrong\u003eThis piece is chosen by those who understand that the most unusual forms are often the most disciplined.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Two dark vessels lean upward like horns sounding into silence.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis twin horn-cup vessel is one of those forms in which ancient Korean pottery reveals its intelligence most clearly. Recreated by Kim Heon-gyu, it is not compelling because it is rare or visually unfamiliar, but because every part of its structure has been arranged to transform drinking vessels into a ceremonial image. It was made in this way so that function would never appear on its own. The two cups, the rectangular stand, the suspended ornaments, and the pierced foot all work together to remove the object from ordinary handling and place it within a more formal world of offering, order, and measured elevation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe paired cups are central to that transformation. Their horn-like shape immediately departs from the expected language of the bowl or goblet. They rise at a slight outward angle, as though answering one another, and this creates a quiet internal tension within the piece. The vessel is therefore read not as a single container, but as a doubled form. That doubling matters. In ritual objects, repetition often stabilises meaning. Here, the two cups suggest correspondence, balance, or a shared ceremonial act. The work was not made as one cup enlarged, but as two forms held in relation, and that relation gives the piece its gravity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeneath them, the rectangular stand performs an essential curatorial role. It contains and disciplines the visual force of the horn shapes. Without it, the work would become eccentric; with it, the object becomes architectural. The incised cross-hatching across the walls reinforces this containment, creating a skin of order across the surface. Circular apertures interrupt that skin, while the hanging ring ornaments introduce a secondary rhythm that prevents the geometry from becoming inert. These ornaments are small, but not incidental. They make the form breathe. The eye moves from cup to rim, from rim to hanging ring, from ring to opening, and only then downward into the foot.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat lower foot is especially important. Pierced with square openwork, it recalls a recognisable structural feature of Silla earthenware. Yet it also does more than cite a historical type. It lifts the object physically and symbolically. The body no longer sits heavily on the ground; it is raised, aired, and ceremonially distanced. This is precisely why the piece feels appropriate to offering. Ritual forms often depend on this slight removal from the everyday world. The square openings reduce weight, increase shadow, and create a subtle sense that the object stands in suspension between earth and act.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKim Heon-gyu’s handling of surface deepens this reading. His long engagement with Silla and Gaya earthenware is rooted not in mere replication, but in the reactivation of older ceramic logic through present making. Fired in a traditional pine-wood kiln at high temperature, the clay develops its dense dark tone through fire, ash, and atmosphere rather than cosmetic effect. The result is usually matte, though the random behaviour of flame can sometimes produce areas of soft lustre. This variability is significant. It keeps the object from becoming static. Even in stillness, the surface suggests process: smoke passing, heat gathering, form hardening. The vessel feels shaped not only by hand, but by time inside the kiln.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe emotional power of the work lies in the contrast between austerity and experience. At first glance, it appears severe: dark body, restricted palette, emphatic geometry. But on closer viewing, it becomes more complex. The horn cups are unexpectedly elegant. The ring ornaments add cadence. The square piercings beneath open the form to light. What seemed rigid becomes measured; what seemed archaic becomes remarkably present. This is why the work continues to feel alive. It preserves the ceremonial imagination of Silla pottery without turning it into theatrical historical display.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn that sense, the vessel offers more than an image of antiquity. It offers a particular way of thinking through clay. Form is elevated so that use becomes meaningful. Repetition creates balance. Ornament is restrained so that structure can speak. Even the unusual horn shape is not an eccentric flourish, but a way of making the act of drinking appear momentous. The work remains memorable because it gives ceremony a body: dark, still, elevated, and exact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHistorical Note\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eThis work draws on the Silla tradition of horn-cup vessels on raised stands, forms understood in relation to ceremonial use and the offering culture of early Korean earthenware.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLength- 16cm (6.4 inch)\u003c\/li\u003e\n\u003cli\u003eHeight- 21cm (8.27 inch)\u003c\/li\u003e\n\u003cli\u003eDepth- 9cm (3.54 inch)\u003c\/li\u003e\n\u003cli\u003eCup (Volume)- 175 ml\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Default Title","offer_id":52121697190119,"sku":null,"price":385.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/4172E4C2-C08C-4C23-B7AB-2D3E797AD689.jpg?v=1779925281"},{"product_id":"silla-earthenware-five-wick-oil-lamp-ring-ornamented-form","title":"Silla Earthenware Five-Wick Oil Lamp: Ring-Ornamented Form","description":"\u003cp\u003e\u003cstrong\u003eThis piece is chosen by those who understand that even a vessel for flame can carry tenderness.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Here, light is not imagined as a single point, but as a circle held against darkness.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis five-wick lamp is one of the most affecting forms in Silla earthenware because it joins ritual clarity with human feeling. Recreated by Kim Heon-gyu, it was made in this way so that light would not appear accidental or momentary, but gathered, repeated, and sustained. The five bowls are not merely multiplied cups for oil. They form a ring. That ring matters. It turns the lamp from a practical object into a protective structure, one in which illumination surrounds absence and gives order to uncertainty.\u003c\/p\u003e\n\u003cp\u003eThe composition is remarkably disciplined. Each lamp cup rises just enough above the shared circular body to remain distinct, yet none dominates. This equality is important. The object does not dramatise one flame over another; it imagines brightness as collective. At the centre, an open void prevents the form from becoming a solid mass. Instead, the lamp remains permeable, almost architectural. One looks not only at the vessel, but through it. This openness is part of the emotional design. It allows the work to feel receptive rather than closed, as though space itself has been reserved for breath, shadow, and passage.\u003c\/p\u003e\n\u003cp\u003eThe body beneath the bowls carries this same logic downward. The raised foot, pierced with square openings, is both practical and symbolic in effect. Structurally, it reduces weight and stabilises the form. Visually, it lifts the lamp from the ground and gives it ceremonial distance. In Silla pottery, such openwork often brings a sense of elevation and air into the lower register of a form, and here that is especially important. A funerary lamp cannot appear burdened. It must seem able to hold and transmit light.\u003c\/p\u003e\n\u003cp\u003eThe ring ornaments along the outer wall deepen that reading. They are small, but they change the entire experience of the piece. Without them, the lamp would be severe; with them, it acquires rhythm, tactility, and a faint echo of movement. Their suspended presence suggests soundless motion, like a continuation of flame or a trace of human touch. This is why the work feels less like a fixed relic than a living ritual object. The ornaments do not distract from the structure. They soften it, making the lamp feel attended to.\u003c\/p\u003e\n\u003cp\u003eKim Heon-gyu’s recreation is especially convincing because he understands that the value of Silla earthenware lies not only in silhouette, but in material gravity. Fired in a traditional pine-wood kiln at high temperature, the clay develops the dark, smoke-rich surface characteristic of his practice. The finish is largely matte, yet the kiln’s unpredictability can produce moments of quiet lustre. This restrained surface is essential. A lamp of this kind should not dazzle. It should absorb light until the moment of use, and then release its meaning slowly.\u003c\/p\u003e\n\u003cp\u003eWhat makes the five-wick structure so moving is the belief carried within it. The original lamp from Geumnyeongchong is understood not simply as a lighting device, but as a burial object shaped by parental care and by the hope that a young life might not be lost to darkness beyond death. Once that context is understood, the form becomes profoundly legible. Five flames are not excess. They are insistence. They are the refusal to leave the way unlit.\u003c\/p\u003e\n\u003cp\u003eThat is why this object remains more than an archaeological quotation. In Kim Heon-gyu’s hands, it becomes once again what it was intended to be: a vessel of guidance. The repeated cups, the pierced foot, the hanging rings, and the dark earthen body all work together to create something solemn yet humane. It does not merely represent ancient Silla culture. It preserves a way of feeling — one in which protection, remembrance, and light are made inseparable.\u003c\/p\u003e\n\u003cp\u003eHistorical Note\u003cbr\u003eThis work draws on the Silla five-wick earthenware lamp excavated from Geumnyeongchong Tomb in Gyeongju in 1924. The original, formally identified as a multi-light lamp, is associated with funerary use and is understood as a burial object expressing the wish that the deceased be guided safely through the darkness of the afterlife.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLength- 20cm (7.87 inch)\u003c\/li\u003e\n\u003cli\u003eHeight- 16cm (6.3 inch)\u003c\/li\u003e\n\u003cli\u003eDepth- 20cm (7.87 inch)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Default Title","offer_id":52126371447015,"sku":null,"price":431.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/3645B902-576C-45DC-9283-7F548C84875A.jpg?v=1779994955"},{"product_id":"silla-earthenware-roof-end-tile-sumaksae-smiling-human-face-motif","title":"Silla Earthenware Roof-End Tile (Sumaksae): Smiling Human Face Motif","description":"\u003cp\u003e\u003cstrong\u003eThis piece is chosen by those who understand that the most lasting images are often the least insistent.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The smile does not seek attention; it simply remains, and in remaining becomes unforgettable.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis earthenware sumaksae, or roof-end tile, takes the form of an inmyeonwa — a human-faced tile image long associated with the visual imagination of Silla. Its broad public recognition rests not on monumentality or ornament in the usual sense, but on expression. It was made this way because a human face can hold a cultural presence that geometry alone cannot. In place of the more expected lotus-patterned roof tile, this form offers a countenance: calm, faintly amused, and quietly inward.\u003c\/p\u003e\n\u003cp\u003eThat decision changes everything about how the object is read. A lotus motif organises a surface through repetition and symbolic purity. A face, by contrast, introduces encounter. One does not merely observe it; one meets it. The narrowed eyes, rounded planes of the cheeks, and subtle upward turn of the mouth create a smile that is neither fully declared nor withheld. This ambiguity is central to its power. It allows the expression to remain open, returning something different with each viewing: serenity, gentleness, irony, repose.\u003c\/p\u003e\n\u003cp\u003eThe form is also shaped to preserve a sense of origin. The tile is not regularised into a perfect decorative plaque. Its edge remains uneven, its mass slightly asymmetrical, and this matters. It reminds the viewer that the work belongs to the world of architecture — to the end of a roofline, to the material dignity of fired clay, to the outer skin of a building. The face therefore does not float free as an image alone. It remains tied to structure, weather, and surface.\u003c\/p\u003e\n\u003cp\u003eThis connection between image and architecture helps explain why the piece carries such unusual emotional weight. A roof-end tile belongs to the threshold between protection and exposure: it completes the roofline, faces outward, and meets the world. To place a human face there is to let architecture itself acquire expression. The building is no longer mute. It greets, watches, and endures. That may be one reason this motif has remained so deeply loved in Korea. It condenses monument and humanity into a single form.\u003c\/p\u003e\n\u003cp\u003eIts later reputation as the ‘Thousand-Year Smile of Silla’ is revealing. The phrase does not celebrate grandeur. It celebrates continuity of feeling. Across centuries, what survives most vividly is not only the object’s antiquity, but the extraordinary accessibility of its expression. The smile is not heroic or sacred in a distant sense. It is close to human scale. It allows tenderness to become historical memory.\u003c\/p\u003e\n\u003cp\u003eThe addition of a hanging cord gives the work a new mode of presence without emptying it of its original logic. Displayed on a wall, it retains something of the outward-facing role it once held in architecture. Yet the shift in scale transforms the encounter. What was once elevated at the end of a roof may now be met directly, at the height of the eye. In this new setting, the tile becomes less a remnant and more a companionable image — still archaic, but no longer remote.\u003c\/p\u003e\n\u003cp\u003eWhat finally makes this object so compelling is the clarity of its artistic intention. It was made this way because expression could carry what ornament alone could not: memory with warmth, antiquity with approachability, and dignity with ease. The result is not merely a historic motif rendered in clay, but a face that continues to hold time gently.\u003c\/p\u003e\n\u003cp\u003eHistorical Note\u003cbr\u003eFace-patterned roof-end tile from Silla, excavated at Yeongmyosa Temple Site in Tapjeong-dong, Gyeongju. The original is designated Treasure No. 2010 in Korea and is widely known as the ‘Smile of Silla’ or ‘Thousand-Year Smile’.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSmall\u003cbr\u003eHeight- 13cm\u003cbr\u003eWidth- 13cm\u003cbr\u003eDepth- 2cm\u003c\/li\u003e\n\u003cli\u003eMedium\u003cbr\u003eWidth- 17cm (6.69 inch)\u003cbr\u003eDepth- 2cm (0.79 inch)\u003cbr\u003eHeight- 17cm (6.69 inch)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRelated Links:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/www.artinko.com\/collections\/silla-gaya-earthenware-reproductions\" title=\"silla-gaya-earthenware-reproductions\"\u003eSilla \u0026amp; Gaya Earthenware\u003c\/a\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Small","offer_id":52140246073575,"sku":null,"price":123.0,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":52140246106343,"sku":null,"price":142.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/IMG-6915.jpg?v=1780293230"},{"product_id":"silla-earthenware-pendant-necklace-human-face-sumaksae-and-gwimyeonwa-motifs","title":"Silla Earthenware Pendant Necklace: Human-Face Sumaksae and Gwimyeonwa Motifs","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eThis piece is chosen by those who value the moment when history becomes intimate without losing its weight.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\"The old roofline descends to the hand, and what once faced the open air now rests against the body.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThese pendant necklaces are compelling because they do not treat Silla motifs as decorative quotations. They are made to preserve encounter. The human-face \u003cspan class=\"s1\"\u003e\u003ci\u003esumaksae\u003c\/i\u003e\u003c\/span\u003e and the \u003cspan class=\"s1\"\u003e\u003ci\u003egwimyeonwa\u003c\/i\u003e\u003c\/span\u003e originally belonged to architecture, to the outer edge of a building, where image and structure met the world. In reducing them to pendant scale, Kim Heon-gyu does not erase that origin. Instead, he changes the mode of address. What once watched outward from the end of a roof is now met at the height of the chest or held in the palm. The architectural becomes personal.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis change in scale explains why the two motifs are paired so effectively. The human-face tile is remembered for its extraordinary expression: a smile neither fully declared nor entirely withdrawn, calm enough to invite repeated looking. The \u003cspan class=\"s1\"\u003e\u003ci\u003egwimyeonwa\u003c\/i\u003e\u003c\/span\u003e works differently. Its force lies in its severity. In Korean architectural tradition, such fierce mask forms were attached with a protective logic, their very presence meant to repel misfortune and guard the threshold. One face welcomes through composure; the other protects through intensity. As a pair, they create a small but complete emotional field.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe choice to recreate them in Silla-style earthenware is central to the work’s meaning. Had these motifs been rendered in a lighter or more polished material, much of their authority would have been lost. Kim Heon-gyu’s firing process, using pine and sustained temperatures of around 1300°C over several days, seeks to recover not only the visual memory of ancient Silla pottery but its physical discipline. The resulting body is dense, hard-fired, and notably restrained in surface character. This is important because the pendants are not asking to be admired as glossy accessories. Their gravity comes from the fired clay itself, from the sense that they have been made under pressure, endurance, and time.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThat material severity also stabilises the symbolic contrast between the two options. The smiling face does not become sentimental, because the clay keeps it grounded. The protective mask does not become theatrical, because the earthenware holds its force in reserve. Both remain archaic in the best sense: reduced, durable, and resistant to excess. Their smallness therefore should not be mistaken for lightness. They are small precisely so that their meanings may be carried rather than merely observed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe pendant format introduces a further shift in ritual. A roof-end tile ordinarily belongs to collective space. It protects or expresses something on behalf of a building, and by extension on behalf of a community. Here that function is drawn inward. The wearer may choose the human-face tile as an image of composure and continuity, or the \u003cspan class=\"s1\"\u003e\u003ci\u003egwimyeonwa\u003c\/i\u003e\u003c\/span\u003e as a sign of protection and warding. It may also be worn less as jewellery in the modern sense than as a kept form: something to place in a bag, pocket, or wallet, where its symbolic role continues quietly through nearness. In that sense, the pendant does not modernise the motif so much as relocate its guardianship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhat is most persuasive in the work is its refusal to separate image, material, and use. The motifs are historical; the clay body is deliberately severe; the scale invites closeness. Each decision supports the next. The result is not simply a necklace with ancient references, but a condensed form of Silla presence: smiling in one instance, guarding in the other, and in both cases remaining close without becoming ordinary.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHuman-Face Sumaksae\u003cbr\u003eWidth- 4cm (1.57 inch)\u003cbr\u003eHeight- 4cm (1.57 inch) \u003cbr\u003eDepth- 0.5cm (0.2 inch)\u003c\/li\u003e\n\u003cli\u003eGwimyeonwa Demon-Face\u003cbr\u003eWidth- 3cm (1.18 inch)\u003cbr\u003eHeight- 4cm (1.57 inch) \u003cbr\u003eDepth- 0.5cm (0.2 inch)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Human-Face Sumaksae","offer_id":52171980636391,"sku":null,"price":29.0,"currency_code":"USD","in_stock":true},{"title":"Gwimyeonwa","offer_id":52171980669159,"sku":null,"price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/A4C5BD15-8BC6-4782-BF23-9076F8D467E4.png?v=1780695652"},{"product_id":"unglazed-ceramic-vase-buncheong-clay-body-with-plum-blossom-branch-and-openwork-rim","title":"Unglazed Ceramic Vessel: Buncheong Clay Body with Plum Blossom Branch and Openwork Rim","description":"\u003cp\u003e\u003cstrong\u003eThis piece is chosen by those who understand that the most lasting refinement often begins with a refusal of excess.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Spring appears here not as abundance, but as a branch held firmly against the silence of clay.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eCreated by the Icheon ceramic artist Lee Sang-bong, this vase is built from a clay body associated with Buncheong ware, yet it deliberately moves away from what one might expect from Buncheong as a finished ceramic language. It was made this way in order to test what remains when glaze is withheld. After the vessel was formed, it underwent an initial firing; the plum branch was then set into the body, the blossoms articulated with white clay and touches of red clay, and the piece was fired again without glaze. This process matters because it defines the entire emotional and visual logic of the work. The vase does not offer the glassy radiance of celadon, nor the brighter white-slip contrast often associated with Buncheong surfaces. It remains close to the fired body itself: dry, firm, porous in appearance, and quietly severe.\u003c\/p\u003e\n\u003cp\u003eThis choice transforms how the motif is read. A glazed surface would have unified the whole through sheen, but here the unglazed body keeps every decision visible. One sees not only image, but matter. The clay retains its own voice. The work therefore feels less like ornament placed upon a vessel and more like an encounter between surface memory and disciplined form. Although its appearance recalls earthenware, the firing belongs to a more demanding high-temperature tradition, giving the vase a hardness and durability that exceed its modest, clay-bound appearance. This tension between visual plainness and structural strength is central to the work’s character.\u003c\/p\u003e\n\u003cp\u003eThe plum branch is placed diagonally, and this is not incidental. It was made this way to interrupt the stillness of the rounded body with a directional force. The vessel itself is broad, enclosed, and calm; the branch moves across it with a controlled asymmetry, creating a sense of emergence. In Korean culture, plum blossom is among the most resonant signs of early spring. Because it flowers before the full return of warmth, it has long carried meanings of endurance, fidelity to principle, renewal, and quiet nobility. Here those meanings are conveyed without sentiment. The blossoms are small, even restrained, and for that reason their presence is more affecting. They do not bloom lavishly. They persist.\u003c\/p\u003e\n\u003cp\u003eEqually important is the field behind them. The incised scroll pattern surrounding the branch does more than fill space. It was made this way to prevent the vessel from becoming divided into figure and empty ground. Instead, the entire body is kept active. The scrollwork sets up a low, continuous movement against which the branch can be read more sharply. At the same time, the combed linear treatment subtly recalls the language of ancient Korean comb-pattern pottery, folding a deeper historical memory into the piece. This is a significant curatorial point: the vase does not only reference floral symbolism, but also engages the longer genealogy of Korean ceramic surface-making, where incision and repeated mark carry their own cultural gravity.\u003c\/p\u003e\n\u003cp\u003eThe openwork rim changes the experience of the vessel once again. Its chilbo-inspired pierced pattern lightens the top edge and allows the form to open not merely physically, but visually. Without this upper register, the vase might remain too inward, too enclosed. The rim was made this way to introduce air, interval, and release. Its darker colour also answers the blackened tone of the plum branch below, so that the composition is not isolated to the main body but extends upward to the mouth. The small red accents punctuating the rim quietly echo the red centres of the blossoms, establishing a measured chromatic continuity.\u003c\/p\u003e\n\u003cp\u003eStructurally, this upper section also reveals technical ambition. Openwork at the rim demands careful control, especially in a work that is finally left unglazed, since every cut edge and every join remains exposed to view. There is nowhere for error to hide. The result is therefore not simply decorative finesse, but visible evidence of judgement and endurance in making.\u003c\/p\u003e\n\u003cp\u003eThe silhouette of the vase plays a vital role in holding all of this together. Its profile is full but not heavy, narrowing gently to a contained foot and widening just enough at the shoulder to give the plum branch room to travel. The body becomes a field of waiting; the branch becomes an event within it. Seen slowly, the vase unfolds in layers: first the overall stillness of the unglazed form, then the dark movement of the branch, then the white blossoms, then the incised ground, and finally the pierced crown of the rim. The structure guides the eye in an ordered sequence, allowing the work to reveal its complexity gradually rather than all at once.\u003c\/p\u003e\n\u003cp\u003eWhat is most compelling here is the reason it was made in this manner. The artist has chosen not to conceal clay beneath finish, but to let the high-fired body remain visibly itself. He has chosen not to rely on lavish colour, but to set a restrained plum branch against an earthen field. He has chosen not to leave the mouth plain, but to open it through a precise pierced border. Each of these decisions contributes to a vase that feels deeply considered rather than merely decorative.\u003c\/p\u003e\n\u003cp\u003eThis is not a work of surface splendour. It is a work of controlled material truth. Its refinement comes from how much has been held back, and from how fully the remaining elements have been allowed to speak.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eHeight- 33cm (12.99 inch)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eDiameter- 20cm (7.87 inch)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRelated Links\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/www.artinko.com\/blogs\/korean-culture\/about-celadon\" title=\"About Celadon\"\u003eAbout Celadon\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.artinko.com\/collections\/master-artisan\" title=\"Master Artisan’s Collection\"\u003e\u003cspan\u003eMaster Artisan’s Collection\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Celadons","offers":[{"title":"Default Title","offer_id":52173976502503,"sku":null,"price":558.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/AD600409-5F7F-4D6C-AA67-B2AA17F2BAA2.jpg?v=1780779949"},{"product_id":"silla-earthenware-framed-roof-end-tile-sumaksae-smiling-human-face-motif","title":"Silla Earthenware Framed Roof-End Tile (Sumaksae): Smiling Human Face Motif","description":"\u003cp\u003e\u003cstrong\u003eThis piece is chosen by those who understand that history is sometimes held most powerfully in a single expression.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“It smiles as though time had passed over it lightly, without ever taking its calm away.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis wall work reinterprets the Silla sumaksae as an object for sustained interior viewing, and that shift in function explains the structure of the piece. A roof-end tile originally belongs to the edge of architecture: it completes the line of the eaves, faces outward, and meets the world beyond the building. It was made this way because architecture in Korea was never merely structural; it also carried image, rhythm, and symbolic presence. By placing the human-face tile within a wooden frame, the work retains that historical form while changing the conditions of encounter. What once belonged to the roofline is now brought to the height of the eye.\u003c\/p\u003e\n\u003cp\u003eThis matters because the human face is fundamentally different from the floral patterns more commonly associated with roof-end tiles. A lotus motif gives order, symmetry, and symbolic purity. The smiling face does something else. It introduces emotional reciprocity. One does not simply inspect it as pattern; one meets it as expression. The half-closed eyes, broad planes of the face, and slight curve of the mouth create an image that is neither fully amused nor solemn. Its ambiguity is essential. It allows the expression to remain open, and therefore alive.\u003c\/p\u003e\n\u003cp\u003eThe face has been preserved with enough irregularity to keep its architectural origin visible. It is not trimmed into a perfect plaque or overly refined into a polished relief. Its outline remains uneven, its edges soft, and its surface retains the plain authority of earthenware. This is important, because the power of the motif lies partly in the fact that it once belonged to a building. The smile is not detached from structure. It emerges from clay, weight, and placement. The tile therefore holds together two conditions at once: image and construction, humanity and architecture.\u003c\/p\u003e\n\u003cp\u003eThe frame changes that relationship in a measured way. It was not added merely for convenience, but to stabilise the tile as an object of contemplation. The square wooden setting provides visual order around a form that is asymmetrical and organic. That contrast is quietly effective. The face remains archaic and slightly off-centre, while the frame offers stillness and proportion. The result is that the tile can now be read slowly, almost as one would read a small devotional or commemorative image, yet without losing its material honesty.\u003c\/p\u003e\n\u003cp\u003eThere is also a subtle transformation in scale and intimacy. On a roof, such a face would have been seen from below and at a distance, as part of a larger architectural ensemble. Framed and hung on a wall, it becomes direct. The viewer now encounters the expression at close range, where the softness of the mouth and the inwardness of the eyes become more apparent. What was once public and outward-facing becomes inward and companionable. This is why the piece feels especially suited to quiet interior spaces: it carries the dignity of antiquity without becoming remote.\u003c\/p\u003e\n\u003cp\u003eThe enduring affection for this motif in Korea is closely tied to that accessibility. It is often remembered not for grandeur, but for warmth. The phrase “Silla Smile” persists because the face compresses historical distance into an immediately recognisable human feeling. That is also why the motif remains so compelling when re-presented in contemporary form. Its strength lies not in spectacle, but in the continuity of expression across time.\u003c\/p\u003e\n\u003cp\u003eSeen in this way, the work is not simply a ceramic face set into wood. It is an architectural image made intimate. It was made like this so that the outward-facing language of the roof tile could become a lived presence within the home: calm, watchful, and quietly enduring.\u003c\/p\u003e\n\u003cp\u003eHistorical Note\u003cbr\u003eFace-patterned roof-end tile from Silla, excavated at Yeongmyosa Temple Site in Tapjeong-dong, Gyeongju. The original is designated Treasure No. 2010 in Korea and is widely known as the ‘Smile of Silla’ or ‘Thousand-Year Smile’.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWidth- 18cm (7.08 inch)\u003c\/li\u003e\n\u003cli\u003eDepth- 1.8cm (0.71 inch)\u003c\/li\u003e\n\u003cli\u003eHeight- 18cm (7.08 inch)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Default Title","offer_id":52179962888423,"sku":null,"price":109.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/Roof-tile-frame1.jpg?v=1781904682"},{"product_id":"gaya-earthenware-horse-head-horn-cup-pair-large-and-small-forms","title":"Gaya Earthenware Horse-Head Horn Cup Pair: Large and Small Forms","description":"\u003cp\u003e\u003cstrong\u003eThis pair is chosen by those who understand that the most compelling ancient forms are often the ones in which image and use remain inseparable.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The horse does not merely adorn the vessel; it seems to draw it forward, as though the act of drinking once belonged to motion, rite, and belief.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eCreated by Kim Heon-gyu, this pair reinterprets the Gaya horse-head horn cup through two related scales, allowing the form to be read both as a historical type and as a living ceramic structure. It was made in this way because the original vessel was never simply a cup with an animal attached to it. The horse head alters the entire meaning of the form. It turns the horn cup into something directional, ceremonial, and charged with presence. One does not look only at a container. One encounters a vessel that already carries movement at its edge.\u003c\/p\u003e\n\u003cp\u003eThat is why the composition matters so much. The conical body narrows downward into a short foot, giving the vessel lift and concentration rather than broad stability. This upward-thrusting silhouette is essential to the character of the gakbae. It holds liquid, certainly, but it also stages it. The horse head at the terminal end sharpens that effect further. With its modeled mouth, eyes, and ears, the animal does not remain a decorative appendage. It becomes the vessel’s point of animation, the place where use is transformed into image. The cup appears to extend into the animal, and the animal in turn gives the cup symbolic direction.\u003c\/p\u003e\n\u003cp\u003eIn the context of Gaya culture, this is especially resonant. The horse was not a neutral creature, but one bound to status, mobility, martial life, and ritual imagination. To place the horse at the end of the cup was therefore not an arbitrary embellishment. It was made this way because the vessel was intended to carry more than drink. It carried an atmosphere of ceremony and an image of force held in restraint. Even in reduced scale, that logic remains intact. The horse head gives the form dignity, but also something more unusual: a sense that the vessel is already participating in an act larger than itself.\u003c\/p\u003e\n\u003cp\u003eKim Heon-gyu’s method is central to how convincingly this older form returns. These pieces do not preserve only the outward silhouette of ancient Gaya pottery. They also seek to recover its material gravity. Fired in a wood kiln with pine, at around 1300°C over several days, the clay achieves the dense, hard-fired body and dark, unglazed surface associated with the recreated language of early Silla and Gaya earthenware. This matters deeply. Without that density and dryness, the works might remain historical references alone. With it, they regain something of the severe tactile authority that belongs to ancient high-fired Korean clay.\u003c\/p\u003e\n\u003cp\u003eThe surface therefore plays a quieter but equally important role. It absorbs light rather than casting it back, which allows the form to be read through edge, contour, and shadow. The horse head emerges slowly, as do the knife-finished lower sections of the conical body. These trimming marks are especially telling. They preserve evidence of handwork and keep the object close to process. The vessels do not pretend to industrial perfection. They remain visibly shaped, cut, fired, and hardened through labour. In that sense, their elegance is not polished smoothness, but disciplined resolution.\u003c\/p\u003e\n\u003cp\u003eThe relationship between the large and small forms is also more than practical variation. Together they clarify the type. The larger cup holds greater ceremonial weight; the smaller gathers the same structure into a more concentrated and intimate scale. Read as a pair, they allow the form to be understood through proportion. One expands the historical imagination of the object, the other condenses it. Their coexistence makes clear that the type is not dependent on a single size for its authority. What matters is the union of conical body, short foot, and horse-head terminal — a formal logic that remains persuasive in either scale.\u003c\/p\u003e\n\u003cp\u003eThis also explains why the pair can still be experienced meaningfully in use. To drink from earthenware is already to encounter material differently: the hand registers dryness, weight, firmness, and temperature in a way that glazed surfaces often soften. In these vessels, that sensory closeness is intensified by form. One becomes aware not only of the cup as utensil, but of the animal presence that completes it. The act is therefore subtly altered. Drinking becomes less casual, more attentive. The object asks to be handled with awareness of its lineage.\u003c\/p\u003e\n\u003cp\u003eWhat finally distinguishes this pair is the completeness of its transformation. Archaeological memory, sculptural image, and vessel function are not separated into categories. They remain joined. The horse is not an ornament placed on a cup; the cup is not merely a support for an animal image. Each explains the other. Through that union, the pair preserves something fundamental in ancient Gaya ceramic thought: that utility could be ceremonial, and that even a drinking vessel could hold rank, motion, and imagination in fired clay.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003eLarge\u003cbr\u003eLength- 11cm (4.33 inch)\u003cbr\u003eHeight- 11cm (4.33 inch)\u003cbr\u003eDepth- 7.5cm (2.95 inch)\u003cbr\u003eVolume- 100ml\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eSmall\u003cbr\u003eLength- 7cm (7.87 inch)\u003cbr\u003eHeight- 8cm (6.3 inch)\u003cbr\u003eDepth- 6cm (7.87 inch)\u003cbr\u003eVolume- 50ml\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRelated Links:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/www.artinko.com\/collections\/silla-gaya-earthenware-reproductions\" title=\"silla-gaya-earthenware-reproductions\"\u003eSilla \u0026amp; Gaya Earthenware\u003c\/a\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ArtinKo","offers":[{"title":"Large Cup","offer_id":52275201900775,"sku":null,"price":105.0,"currency_code":"USD","in_stock":true},{"title":"Small Cup","offer_id":52275201933543,"sku":null,"price":80.0,"currency_code":"USD","in_stock":true},{"title":"Whole Set","offer_id":52275203899623,"sku":null,"price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/IMG_3868.jpg?v=1783106950"},{"product_id":"traditional-korean-onggi-fermentation-jar-4-l-earthenware-for-soybean-paste-gochujang-and-more","title":"Traditional Korean Onggi Fermentation Jar (4 L): Earthenware for Soybean Paste, Gochujang and More","description":"\u003cp data-start=\"24\" data-end=\"134\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong data-start=\"24\" data-end=\"134\"\u003eThis vessel is chosen by those who understand that the finest food begins with patience rather than haste.\u003c\/strong\u003e\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"136\" data-end=\"226\"\u003e\u003cem data-start=\"136\" data-end=\"226\"\u003e“Some traditions preserve flavour not by resisting time, but by allowing it to breathe.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"228\" data-end=\"612\"\u003eFor more than 160 years, the artisans of Yesan Onggi have shaped earthenware that serves not only as a container, but as an active participant in the slow transformation of food. This handmade 4-litre fermentation jar continues that lineage, preserving one of Korea's oldest traditions of natural fermentation through carefully refined craftsmanship passed down over four generations.\u003c\/p\u003e\n\u003cp data-start=\"614\" data-end=\"1037\"\u003eUnlike industrial storage vessels, an authentic Korean onggi is made from naturally matured clay and finished with a traditional mineral glaze prepared from wood ash and natural ingredients. The clay itself is aged for over five years before use, while the glaze is matured for more than six months. These processes are not simply matters of tradition; they contribute to the stability and character of the finished vessel.\u003c\/p\u003e\n\u003cp data-start=\"1039\" data-end=\"1420\"\u003eThe strength of an onggi lies in what cannot easily be seen. Its microscopic porous structure allows a subtle exchange of air while helping regulate moisture during fermentation. This gentle respiration has long made onggi the preferred vessel for preparing kimchi, doenjang, gochujang and soy sauce, supporting the slow microbial activity that develops depth of flavour over time.\u003c\/p\u003e\n\u003cp data-start=\"1422\" data-end=\"1771\"\u003eEvery jar is individually formed by hand, making slight variations in profile, surface texture and glaze an inherent part of its character. Rather than seeking mechanical uniformity, the artisan pursues balance—ensuring that the vessel sits securely, the lid fits naturally, and the proportions encourage stable fermentation throughout extended use.\u003c\/p\u003e\n\u003cp data-start=\"1773\" data-end=\"2040\"\u003eThis 4-litre size is well suited to smaller batches of traditional Korean fermented foods, while remaining practical for everyday kitchens. Its modest scale allows the vessel to retain the presence of traditional onggi without overwhelming contemporary living spaces.\u003c\/p\u003e\n\u003cp data-start=\"2042\" data-end=\"2307\"\u003eThe Yesan workshop maintains rigorous quality standards alongside traditional production methods. Each vessel is produced from natural materials and undergoes regular testing for safety, ensuring that centuries of craftsmanship continue to meet modern expectations.\u003c\/p\u003e\n\u003cp data-start=\"2309\" data-end=\"2578\"\u003eBefore first use, the jar should be rinsed thoroughly with clean water and allowed to dry completely. During long-term use, storing the vessel in a well-ventilated environment and avoiding sudden changes in temperature will help preserve its performance for many years.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOpening Diameter: 15 cm (5.91 inch)\u003c\/li\u003e\n\u003cli\u003eMaximum Diameter: 23 cm (9.05 inch)\u003c\/li\u003e\n\u003cli\u003eHeight: 21 cm (8.27 inch)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Miniatures","offers":[{"title":"Default Title","offer_id":52307049939175,"sku":null,"price":238.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/KoreanOnggiforFermentation4L01.jpg?v=1783994644"},{"product_id":"korean-silla-earthenware-vase-flat-roof-end-tile-amaksae-motif","title":"Silla Earthenware Vase: Flat Roof-End Tile (Amaksae) Motif","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThose who choose this work tend to value objects in which an old form is preserved not by imitation alone, but by being given a new role.\u003c\/p\u003e\n\u003cp\u003eWhat once belonged to the edge of a roof now receives a living stem.\u003c\/p\u003e\n\u003cp\u003eThis contemporary Silla-inspired earthenware vase by Kim Heon-gyu takes its form from the amaksae, a traditional Korean roof-end tile associated here with examples excavated in Gyeongju. Rather than reducing the historic reference to a surface motif, the artist retains the broad, gently curved silhouette of the architectural form itself, allowing its original weight and horizontal character to remain immediately recognisable.\u003c\/p\u003e\n\u003cp\u003eThe front is treated as the principal visual plane. Its dark earthenware surface carries raised ornamental details across the curved body, recalling the decorative role that roof-end tiles once played at the boundary between architecture and open air. The low, elongated proportion gives the object a grounded presence, while the slight upward curve at either end preserves the sense of a roofline held in tension.\u003c\/p\u003e\n\u003cp\u003eThe work was made this way so that its historical reference remains visible even before its function is understood. From the front, it appears almost as an archaeological or architectural fragment set upon a small support. Only on closer viewing does its contemporary purpose become apparent: a concealed opening behind the upper edge allows flowers or slender branches to be placed within it.\u003c\/p\u003e\n\u003cp\u003eThis functional intervention changes the meaning of the form without disturbing it. The vessel does not simply borrow the appearance of an amaksae; it allows an architectural object associated with shelter and structure to enter domestic life in another way. Flowers rise from behind the dark ceramic curve, introducing softness, seasonality and movement to a form that otherwise feels dense and enduring.\u003c\/p\u003e\n\u003cp\u003eThe contrast is particularly effective. The earthenware remains visually close to earth, architecture and fired clay, while the flowers are temporary and alive. One element is made to endure; the other is expected to change. Their meeting gives the work its quiet tension.\u003c\/p\u003e\n\u003cp\u003eKim Heon-gyu’s interpretation is therefore contemporary not because it abandons the traditional form, but because it changes the way that form is encountered. The amaksae is no longer positioned high above the viewer as part of a building. It is brought down to eye level, where its curvature, relief and material presence can be examined at close range.\u003c\/p\u003e\n\u003cp\u003eAs a vase, the work remains deliberately restrained. Its purpose does not overwhelm its historical character. Instead, the flowers appear almost to emerge from behind the roofline itself, turning an architectural memory into a small, living landscape.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLength - 23cm\u003c\/p\u003e\n\u003cp\u003eHeight - 7cm \u003c\/p\u003e\n\u003cp\u003eDepth - 2cm\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRelated Links\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ca style=\"font-size: 0.875rem;\" href=\"https:\/\/www.artinko.com\/blogs\/korean-culture\/about-mother-of-pearl-art\"\u003e \u003c\/a\u003e\u003ca href=\"https:\/\/www.artinko.com\/collections\/silla-gaya-earthenware-reproductions?_su_rec=gwr1e6vhdogq01dt-7fi5tmv9ygiffyvupuddnlxovrf_wq9t75srpyycnczndcabnqmcod5fumxjwtxedgww-bisx2bes4t95lf8_wrysbo8uqvmprtczpv4bdyyhgon7hpkblpcipql6nfr3-eckb98xl0qka_0eqhebsqrxbhhaqcsdf2oo4zl3ej7wh-pfoyk9n3h6pakn5t6-vb53bwsvrdgoiyorsk87bqsxmrnezybm3ij3yxf5g-4c236sm\u0026amp;_su_rec_id=3460d4c2-5aef-4eee-b6bb-c1e8c452542c-1786751209\"\u003eAbout Silla\u003c\/a\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Mother of Pearls","offers":[{"title":"Default Title","offer_id":52479389827303,"sku":null,"price":194.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/54F23664-556E-4615-9A44-6485E8C2406F.jpg?v=1786751318"}],"url":"https:\/\/www.artinko.com\/fr\/collections\/other-potteris.oembed","provider":"ArtinKo","version":"1.0","type":"link"}