{"title":"Silla \u0026 Gaya Earthenware Reproductions","description":"","products":[{"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","brand":"ArtinKo","offers":[{"title":"Whole Set","offer_id":52014373273831,"sku":null,"price":885.6,"currency_code":"USD","in_stock":true},{"title":"Master","offer_id":52014373306599,"sku":null,"price":448.2,"currency_code":"USD","in_stock":true},{"title":"Attendant","offer_id":52014373339367,"sku":null,"price":448.2,"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":367.2,"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","brand":"ArtinKo","offers":[{"title":"Default Title","offer_id":52017972838631,"sku":null,"price":448.2,"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":"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":310.5,"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":346.5,"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":387.9,"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","brand":"ArtinKo","offers":[{"title":"Small","offer_id":52140246073575,"sku":null,"price":110.7,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":52140246106343,"sku":null,"price":127.8,"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":26.1,"currency_code":"USD","in_stock":true},{"title":"Gwimyeonwa","offer_id":52171980669159,"sku":null,"price":26.1,"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":"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":98.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/0100\/1191\/files\/Roof-tile-frame1.jpg?v=1781904682"}],"url":"https:\/\/www.artinko.com\/ja\/collections\/silla-gaya-earthenware-reproductions.oembed","provider":"ArtinKo","version":"1.0","type":"link"}