An abstract painting in greys, whites and blacks. On the upper portion is a large white circle and a large rounded object below. Black lines like a tree are going vertically up the painting from both ends, with white dots and smaller black lines in the center of the circle.
This lidded vessel forms the shape of a duck, with a tail pointing from the rear and a head rising to face forward in the front. Qhite slip was applied with visible and long brish strokes, and iron oxide painting adds a rusty hue to match the lower, unglazed clay color.
Honored as artist of the year in 2004 by the National Museum of Contemporary Art in South Korea, Kim Yik-Yung's peices draw on Joseon courtly elegance and combine abstract forms with a focus on the overlap between function and aesthetic.
It is a knife made of silver. The sword blade was made of steel. Floral design was printed on the knob and Deer and bamboo was printed on the cover.
It was used with Korean traditional ornaments worn by women. But in emergency, it was used for self-protection or attack. This traditions happened in Gorye dynasty and became general in Joseon Dynasty.
Stone swords were used 3000 years ago throughout Korea and iron swords were developed during the Three Kingdom era (57 BC - 668 AD). Shorter swords like this one were typically used in battle for follow up attacks.
It has a relatively wide mouth for its height and slightly surving sides. The glaze was degraded. It was incised with arabesque design and inlaid with white slip.
It would be made in 14-15th century. The glaze was degraded possibly caused by erosion underwater. Many such vessels were discovered underwater in west coast of Korea. (Priof visiting scholar's opinion)
It is a fragment of roof-end tile with apsara design in relief.
Apsara design was appeared in Three Dynasty period. It can be found on the ancient tomb mural or espically on the Buddhist temple bell. It was usually carved in the form of bilateral symmetry on the roof-tile.
It flares out widely at the rim, then back in. Its sides, otherwise almost straight, taper to the base. There is no decorated.
It is presumed to be made in Gangjin Kiln. Gangjin is the representative area producing the Goryeo celadon. This place is regarded to the most important area to study Goryeo celadon. Korean government designated this area as the historic site.
It has a long, thin neck and flat oval body. The wide foot is rather shallow but deeply recessed on the underside. The entire of surface is decorated with peony blossom design printed in cobalt blue sigment.
This is a typical bottle type of the late Joseon period, having the characteristic features of a long, thin neck and flat oval body. The bottle was likely produced at the Bunwon-ri kilns in Gwangju, Gyeonggi-do Province.
Gilt bronze standing Buddha on lotus pedestal. He is clothed in monastic robes with cascading U-shaped folds, similar to the gentle folds of his neck. His hands ake the form of two mudras: the abhaya (“have no fear”) mudra with the right hand, and varada (“wishes are granted”) mudra with the left.
It is well proportioned overall and represent Buddha in a standing position; a position quite popular in Unified Shilla Buddhist sculpture. The Ushinisha on the top of Buddha's head is tall, voluminous and black. The face is plump and facial features, including the eyes, nose and the mouth, are all rather small. The earlobes hang are hanging and the three curved lines on the neck are highly distinct.
The Buddha, standing on a lotus pedestal, with his right hand in varada mudra ("wishes are graned") and his left hand raised in abhaya mudra (the gesture of "have no fear").
This kind of statue means the promise of Buddha to dispel the fears of sentiment beings and grant all their wishes.