Culture12th – 14th century

Goryeo Mother-of-pearl Lacquerware

Also called: Najeon chilgi

Lacquered ware inlaid with thin pieces of abalone and shell cut into patterns — so fine that a Song envoy singled it out for praise.

Goryeo lacquered box inlaid with mother-of-pearl and tortoiseshell — Metropolitan Museum of Art
Goryeo lacquered box inlaid with mother-of-pearl and tortoiseshell — Metropolitan Museum of Art

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A wooden core was lacquered many times; thin pieces of abalone and shell were cut into chrysanthemum and scroll motifs and set in, then lacquered and polished again to reveal the design. Goryeo work is marked by tiny densely set pieces, combined with reddish tortoiseshell and metal wire. The Song envoy Xu Jing, visiting in 1123, wrote that the mother-of-pearl work was fine and precious.

Sutra boxes and cosmetic boxes survive, but they are few and mostly abroad. Under Yuan domination an office was even set up to make sutra boxes. The principle of inlay links it with inlaid celadon and silver-inlaid bronze, and the craft continued under Joseon.

The map in 1200

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States and rulers at the time
Goryeo — Sinjong

Before and after

Themes that include this event

  • Crafts and MetalworkAD 346 – 1392

    From the Seven-Branched Sword to mother-of-pearl lacquer — Three Kingdoms crowns, censers and daggers, the great bell of Unified Silla, Goryeo silver inlay and najeon