Plantain Designs on Goryeo Celadon, How They Developed, and What They Meant
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Among the various plant designs that decorated Goryeo celadon, the plantain design is notable for the changes in composition, decorative techniques, and other aspects over a set period, despite the small number of celadon vessels actually made with plantain designs. The paper aims to discern the meaning of the plantain design and its development on Goreyo celadon, and the research outcomes are as follows. First, the cultural meaning of the plantain design was established in China. The plantain represented the Buddhist concept of impermanence, and through the Tang and Song dynasties it became the symbol of the spirit of the scholar as its meaning expanded. Such meanings were shared by the literati and intelligentsia of the mid- and later Goryeo period, and the study of literary and historical materials confirmed that the plantain design also functioned to imbue a space with special meaning. Second, in China the plantain was used as a seasonal background element in paintings from the Tang dynasty. During the Song dynasty, when direct influence on Goryeo is expected, the connection between the plantain and the literati grew even stronger. Though the plantain appears on few examples of Song or Jin dynasty ceramics, it can be found both as the main design motif, expressed pictorially, and as a subordinate design used instead of lotus leaves. Third, Goryeo celadon with plantain designs was produced in Gangjin and Buan for around two centuries, from the first quarter of the 12th century to the second quarter of the 14th century, focusing on maebyeong. This whole production period was sub-divided into three periods: the introductory period, the perfection period, and the change and repetition period. There were differences in decorative techniques and the combination of design motifs used in each period. Fourth, much importance was placed on the influence of Chinese paintings on the production of Goryeo celadon. From the start of the perfection period, however, Goryeo celadon plantain designs moved beyond Chinese influence, and the creativity of the Goryeo people was reflected in the meaning of the plantain and its expression.
Abstract
Among the various plant designs that decorated Goryeo celadon, the plantain design is notable for the changes in composition, decorative techniques, and other aspects over a set period, despite the small number of celadon vessels actually made with plantain designs. The paper aims to discern the meaning of the plantain design and its development on Goreyo celadon, and the research outcomes are as follows. First, the cultural meaning of the plantain design was established in China. The plantain represented the Buddhist concept of impermanence, and through the Tang and Song dynasties it became the symbol of the spirit of the scholar as its meaning expanded. Such meanings were shared by the literati and intelligentsia of the mid- and later Goryeo period, and the study of literary and historical materials confirmed that the plantain design also functioned to imbue a space with special meaning. Second, in China the plantain was used as a seasonal background element in paintings from the Tang dynasty. During the Song dynasty, when direct influence on Goryeo is expected, the connection between the plantain and the literati grew even stronger. Though the plantain appears on few examples of Song or Jin dynasty ceramics, it can be found both as the main design motif, expressed pictorially, and as a subordinate design used instead of lotus leaves. Third, Goryeo celadon with plantain designs was produced in Gangjin and Buan for around two centuries, from the first quarter of the 12th century to the second quarter of the 14th century, focusing on maebyeong. This whole production period was sub-divided into three periods: the introductory period, the perfection period, and the change and repetition period. There were differences in decorative techniques and the combination of design motifs used in each period. Fourth, much importance was placed on the influence of Chinese paintings on the production of Goryeo celadon. From the start of the perfection period, however, Goryeo celadon plantain designs moved beyond Chinese influence, and the creativity of the Goryeo people was reflected in the meaning of the plantain and its expression.
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