Three-Colored Pottery Jar With Flower Design : An Intriguing Glimpse into 7th Century Silla Ceramics!

The Three Kingdoms Period (57 BCE – 668 CE) was a fascinating epoch in Korean history, marked by intense political and cultural rivalries between Goguryeo, Baekje, and Silla. This era witnessed the emergence of distinct artistic styles reflecting each kingdom’s unique identity. While Goguryeo excelled in monumental murals and Baekje cultivated exquisite gold crafts, Silla distinguished itself with innovative pottery techniques. It was during this time that the enigmatic artisan Ongil, a name whispered through generations of ceramicists, left behind his masterful legacy.

Ongil’s “Three-Colored Pottery Jar With Flower Design,” now housed in the Gyeongju National Museum, stands as a testament to Silla’s remarkable artistic prowess. Crafted around the 7th century CE, this jar encapsulates a captivating fusion of form and decoration that has captivated art enthusiasts for centuries.

The vessel itself is a marvel of symmetrical elegance, with gently sloping sides gracefully culminating in a wide, rounded mouth. The potter’s deft hands have transformed simple clay into a harmonious object imbued with both practicality and aesthetic appeal.

The true magic of Ongil’s creation, however, lies in its vibrant polychrome decoration. Three distinct colors – a deep indigo, reminiscent of the twilight sky, a warm ochre, echoing the hues of autumn foliage, and a brilliant white, radiating the purity of freshly fallen snow – dance across the surface in intricate patterns.

These hues are achieved through a complex process known as “sancai,” meaning “three colors” in Chinese. This technique involved applying different colored slips – liquid clay suspensions – to the pottery before firing. The resulting glaze, solidified during the intense heat of the kiln, produces a mesmerizing interplay of matte and glossy finishes. Ongil’s mastery over sancai is evident in the delicate gradations within each color band, revealing subtle shifts in tone that breathe life into the design.

The “Flower Design” component of the jar’s title refers to the intricate floral motif adorning its surface. Delicate petals unfurl around the circumference of the vessel, their gracefully curving stems interconnected by slender leaves. The flowers themselves appear stylized, hinting at a symbolic rather than literal representation.

This interpretation is further supported by the specific blooms depicted – chrysanthemums and lotus flowers. These flowers were deeply imbued with cultural meaning in ancient East Asia:

• Chrysanthemums: Associated with longevity, nobility, and resilience, often symbolizing virtue and overcoming adversity.

• Lotus Flowers: Revered for their purity and ability to bloom even in murky waters, they represented enlightenment, spiritual growth, and the triumph of good over evil.

Ongil’s choice of these flowers imbues the jar with a profound sense of symbolism, suggesting aspirations for prosperity, wisdom, and inner peace within the Silla society.

Table 1: Symbolic Meaning of Flowers on Ongil’s Jar

Ongil’s “Three-Colored Pottery Jar With Flower Design” transcends the realm of mere utilitarian object. It becomes a captivating window into the spiritual and artistic sensibilities of 7th century Silla. This masterpiece eloquently combines technical virtuosity with symbolic depth, reminding us that even the simplest everyday objects can hold profound meaning. The enduring allure of Ongil’s creation lies not only in its aesthetic beauty but also in its ability to spark our imaginations and transport us across centuries, connecting us to a distant past filled with artistry and cultural richness.

The jar’s legacy extends beyond its physical presence. It serves as a potent reminder of the ingenuity and creativity that flourished during the Three Kingdoms Period. Ongil’s work has inspired generations of ceramic artists and continues to be celebrated as a national treasure, proudly showcasing Korea’s artistic heritage on the global stage.