“A slow procession of cranes moves across a deep red ground, carrying time, constancy, and quiet blessing.”
This paired ensemble—comprising a jewellery chest in the form of a scholar’s desk and a matching hexagonal pencil holder—was created by Oh Myung-ho, whose work is distinguished by an exacting command of Korean shellwork traditions and an exceptional sensitivity to surface and curvature. Both pieces demonstrate the hallmarks of refined Korean mother-of-pearl craft: shell processed to an extraordinary thinness, multiple shell varieties layered in deliberate contrast, and selective colour applied to motifs such as the sun and flowers to heighten symbolic clarity rather than ornament for its own sake.
The jewellery chest is conceived after the gyeongsang, a traditional Korean low desk associated with scholars and literati. Its gently upturned edges echo the restrained curves of Korean wooden architecture, allowing the form itself to participate in the language of elegance and discipline. Unlike rectilinear boxes, this curved structure demands greater precision; every surface—particularly the subtly arched sides—requires shell pieces cut thinner and set with heightened control. With the exception of the base, nearly every exterior plane is enveloped in shellwork, leaving little visual rest yet avoiding excess through careful compositional balance.
Across the front and side panels, two distinct shell types are employed: one forming a dense, iridescent ground, the other defining cranes and scrolling vine patterns (dangcho). The result is so richly layered that the underlying red surface almost disappears, transforming the body of the chest into a continuous field of movement and light. By contrast, the rear panel is deliberately restrained: cranes and pine branches appear with measured spacing, allowing the principle of yeobaek—the beauty of meaningful emptiness—to emerge and offer visual repose.
The lid unfolds like a painted landscape. Here, motifs associated with Korean longevity symbolism (jangsaeng)—cranes, deer, peaches, the sun, and mountainous forms—are composed as if within a single panoramic scene. Peonies and the sun are gently coloured, introducing warmth and depth, while alternative shell varieties are used to sharpen contrast against the deep red ground. The effect is neither illustrative nor decorative alone; it invites prolonged looking, as one would linger before a folding screen.
Function is integrated without compromise. Four drawers provide measured storage for jewellery, while the interior lid reveals a mirror for moments of quiet preparation. Red velvet lining offers both protection and display for rings and earrings. Even the underside of the lid’s edge is finished with shellwork—an almost private gesture of craftsmanship that reveals itself only through use.
The accompanying pencil holder, formed as a hexagon rather than a conventional rectangle, extends this language of refinement. Its faceted body enhances the play of light across the shell surface and demands even greater technical finesse along the curved planes. Each face is framed like a miniature painting, within which cranes, pine, and the sun are arranged in poised harmony. Varied shell selections heighten contrast, lending the object a visual richness that rewards close proximity rather than immediate impact.
Together, the jewellery chest and pencil holder transcend practical purpose. They shape a corner of a room, a writing desk, or a dressing table into a space of intention. As a pair, they may quietly mirror one another within a shared interior—objects not merely owned, but lived with, accruing meaning through daily presence and time.
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