Baekdong Yeonjukjang 

Pipe with blackish copper patterns

Korean tobacco pipes usually consist of mouthpiece, long bamboo stem, and pipe bowl. The mouthpiece and bowl required elaborate skill and calculation. It seems natural that bamboo became an essential component of pipes, because bamboo is one of the Four Gentlemen in the classic ink paintings of literati artists. Bamboo symbolized the faithfulness and uprightness a scholar was expected to have.

Pipes are classified by the material of the mouthpiece and bowl. In luxury pipes, these are of gold or silver. White brass pipes were also compatible with a dignified life. Korean men in traditional society spent freely on only a few items, a good pipe being one of them. The bam-boo stems were actually shorter than the ones we see today. Tobacco pipes with long, slender stems 30-50cm in length, called jangjuk, became fashionable as they inspired respect and lent authority. Thus the richer and the higher ranking functionaries would smoke precious long-stem pipes, especially at banquets and on other special occasions. Some genre paintings showed up class men smoking long-stem gold,silver, blackish copper, and white brass pipe in a haughty man-net Another reason for male g long stems was that the smoke was weakened as it passed through the long passage and therefore became less harmful. For an elderly nobleman, a long-stem pipe was like a conductors baton, with which he directed servants, instructed young people, or expressed his anger by tapping the bowl in an ash tray.

Heated over the stove before forging

References to pipes first appeared in the 14th century and became common in the 15th century. However, the clearest evidence indicates that tobacco was first imported from Japan in 1618, the 10th year of King Gwanghae of the Joseon Dynasty. It is also recorded that when the Qing army approached the border in King Injo’s 11th year (1633), it gave the border envoy Chun Sin-sa a tobacco plant and pipe. At this time, tobacco smoking was already prevalent among the upper class. Imwon Simyukji (Book of Sixteen Forest Products), written by Seo Yu-gu, mentions white brass pipes. Extravagant men spend a hundred to three hundred coins to get blackish copper or white brass pipes adorned with gold and silver inlay, which seems a great waste of money. This shows how much importance Korean gentlemen gave to having fashionable pipes. Pipes were soon produced all over the country, in Anseong, Namwon, Imsil, Sintaein, Gimcheon, Ulsan, and Masan. The Imsil and Anseong areas still produce classic tobacco pipes.

Connecting a pipe bowl with a bamboo stem

In addition to the gold, silver, and white brass mentioned above, favorite materials for the mouthpieces and bowls of pipes were blackish copper and an alloy of gold and silver, all of which could have inlaid designs. Sometimes amber, jade, or ceramics were used. White brass is an alloy which typically is 58% copper, 37% nickel, and 5% zinc. The more nickel it contains, the whiter the color. Classy pipes would have blackish copper, silver, red copper, gold, and silver inlays. Some were decorated with cloisonné.

To make a white brass pipe, the alloy was first made in a melting pot, then poured into a grooved iron plate to m e several sticks. Each stick was then forged in o a sheet as thin as 1mm, cut to the proper length for one component, then tempered into an en thinner sheet, bent and rolled into shape, d soldered at the joint with yellow brass. The joint was smoothened. Each piece was then polished with a polishing bow.

The joints at both ends of the stem were decorated. The Chinese characters for longevity, fortune, and double-happiness, pine trees and cranes, the taegeuk symbol, vignettes, lightning patterns, and the like were inlaid in contrasting color, for instance a white inlay against a dark background or vice versa.

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Three Kingdom period,  early 7th century

gilt bronze

Height: 90.9cm

Weight: 112.2kg

Korean National treasure No.83

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Joseon, 18th century

89.7 x 67.6 cm

Korean National Treasure No.239

Joseon scholars played significant roles in laying the ethical foundation of the dynasty based on Confucian moral teachings and etiquette. They studied history and disseminated Confucian teachings. They were the intellectual elite who put their knowl-edge into practice to educate people. read more Korean confucianism and traditional thoughts

Shaman's Mirror

It is not easy to simply define the thoughts that ruled the spiritual world of the Koreans in pre-modern times. It is because various thoughts had different implications and functions depending on the times, circumstances, social class or gender, and whether in the private or public realms. But it is certain that Buddhism, Confucianism and Daoism combined to form the spiritual world of Koreans, building on the founda-tion of their folk beliefs. Before Christianity and the Eastern Learning (Donghak), a homegrown system of religious thought, spread widely, Buddhism, Confucianism, Daoism and native religious beliefs represented the thoughts of Koreans.

Worship of Heaven

With the sun, the moon and stars under its command, bringing thunder and lightning, rain or drought, Heaven was an omnipotent and sacred power that ruled over all creation. Therefore, rulers held sacrifices and worship at the altar for Heaven to give thanks for harvests and pray for peace on behalf of their nation.  In time, the rites for the worship of heaven became duties of professional shamans. But ancient kings continued to proclaim their mandate from Heaven through foundation myths. Lofty mountains, tall trees or birds flying in the sky served as mysterious messengers in their communion with Heaven.

Buddhism and the Royal Family

Buddhism was introduced to all of the Three Kingdoms between the fourth and the sixth centuries. Buddhist teachings, based on lofty philosophical theories, were accepted by their rulers as a very useful system of thought for the nation building process. From the Three Kingdoms to Unified Silla through Goryeo, the rulers of successive dynasties had deep faith in the Buddha and extended huge support to Buddhist circles. Thus they enhanced their authority and contributed to national prosperity. During the Goryeo period, in particular, many princes became monks and temples were built around the capital city, Gaegyeong. Even under Joseon which adopted anti-Buddhist policies, the royal family followed Buddhism and supported temples.

Venerable Monks

Reliquary set

Buddhism continued to flourish over centuries and achieved a splendid cultural flowering in Korea, thanks to the devout faith and support from all social strata from kings to nobility and com-moners. Without many prominent monks, Korean Buddhism and Buddhist culture would not have been able to make such laudable accomplishments.

Korea produced many great monks who devoted themselves to studying the Buddha’s teachings to leave clear footprints in the world history of Buddhist philosophy, or struggled to achieve unity and reform of the Buddhist world with their profound theoretical depth and noble character. There were also renowned monks who participated in secular politics or diplomatic negotiations, or fought against foreign invaders.

Devotion to Buddhas and Bodhisattvas

Since a pantheon of Buddhas and Bodhisattvas were introduced during the Three Kingdoms pe-riod, Koreans devotedly worshiped them and prayed to them just as they had long done toward Heaven, mountain spirits, or the Seven Stars. They expressed their devout faith through various acts such as painting or sculpting images of Buddhas and Bodhisattvas, building pagodas, casting bells, hand-copying sutras, or carving the printing blocks for Tripitaka, the compendium of Buddha’s teachings and their explanations.

Confucian studies

Confucian texts on bamboo slips and case

Confucian teachings were spread through academic study of Confucian philosophy by generations of scholars. But it was Neo-Confucianists of the Song Dynasty in China in the 12th century who propounded metaphysical theories of social harmony and proper personal conduct. Neo-Confucianism was introduced in Korea in the late 13th century and was fully expounded by two prominent scholars, Yi Hwang and Yi I, in the 16th century. The two sage scholars established the Korean school of Neo-Confucian philosophy and laid a solid academic foundation for many scholars of later generations to explore questions regarding human nature and moral decorum. This constant scholarly pursuit of moral values sustained the Joseon Dynasty over five centuries.

Confucian Scholars

Joseon scholars played significant roles in laying the ethical foundation of the dynasty based on Confucian moral teachings and etiquette. They studied history and disseminated Confucian teachings. They were the intellectual elite who put their knowl-edge into practice to educate people.

Confucianism and Public Education

Confucian teachings were most faithfully practiced under the Joseon Dynasty in Korea. In order to learn to govern properly, the Joseon kings listened to lectures on Confucian philosophy and history. Public schools (hyanggyo) were established in every village across the country, while private academies (seowon) engaged in education at higher levels and conducted rituals for venerating Confucian sages. As intellectual leaders of local communities, Confucian scholars distributed village codes (hyangyak) for efficient self-governance infused with a spirit of basic justice for all and mutual assistance in times of need. Confucian moral values and etiquette were respected more extensively than ever during the latter part of the Joseon period, particularly the rites for coming of age, marriage, funeral and ancestral worship. The excessively stern moral standards, however, meant that women had little freedom in their everyday lives.

Daoism and Folk Beliefs

Daoism was introduced from China during the Three Kingdoms period and easily found common ground in Korean native beliefs. Daoism flourished nationwide during the Goryeo period. In the 16th century mid-Joseon period, however, Daoist rituals were abolished under pressure from Confucian scholars. They barely survived as a means for physical and mental cultivation of individuals or medical skills.

Long before the introduction of Daoism, Buddhism and Confucianism, Koreans had believed that deities resided in the elements of nature such as the sun, the moon, the Seven Stars of the Great Bear, mountains, trees, birds and various animals. These folk beliefs, which were primitive in the sense they were mainly concerned about invoking blessings, were deeply rooted in the everyday lives of Koreans and were enriched through contacts with Buddhism, Confucianism and Daoism. Particularly, shamanism and the ritual performances of professional shamans played a prominent role in the spiritual life of the people.

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Korean traditions style portrait

Artist:  Sohn Dong-hyun

Ink and color on paper / 2008

194 x 130 cm

from upper left

Just a little bit of you / Rock with you

Man in the Mirror / Smooth criminal

You rock my world / One more chance

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Ink and color

190 x 130 cm / 2005

Korean traditional style portrait

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Notorious villain in 007 movie

Artist:  Sohn Dong-hyun

Ink and color on paper / 2011

Korean Traditional Style Portrait

162 x 130 cm

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Silver 990, Gold 24K Wire, Enamel

Artist

Sugok Son Daehyun

the 1-3th Intangible Cultural Property of Seoul, an artisan of lacquerware inlaid with mother-of-pearl

Enameling Artist:  Kim Miyeon

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“Korean lacquer or enameling work lasts 1 thousand year”, said master Son Daehyun, No.1 lacquer work master of Seoul city intangible cultural heritage.  Ananzon is showing the handicraft traditional lacquer work which is developed to the level of the art by intangible cultural heritage of Seoul City and Korea’s masters.
These products are different from the common goods produced massively in terms of the class. We are producing the limited number of products based on “system with masters’ responsible production”.  All the products are planned and manufactured 100% manually by Chaeyul 5 masters including Son Daehyun, Seoul city intangible cultural heritage, and Kim Miyeon, lacquer or enameling work master.
Therefore the time for production has to be long and every product has unique trait, holding the value of only “masterpiece”.

Provides the best value of experience to VIP customers and the company via the highest quality of seven treasures handicraft from the artists that are firstly tried!

Price:  Send inquiry

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Jangdo - Korean traditions ornamental knives

Women wore small ornamental knives, jangdo, as part of macrame pendants from their vest strings, to protect their honor. Just like ceremonial swords and daggers, jangdo also had elaborate decoration on haft and sheath. But they looked somewhat warmer and friendlier than those glittering, icy-bladed weapons.

Early jangdo were discovered in tombs of the Three Kingdoms as ornamental accessories on gold and silver belts. The present term jangdo seems to have come into use in the Goryeo period. It is said that the wearing of decorative knives as pendants on the chest was introduced by the Mongols near the end of the Goryeo Dynasty. As Confucian thought emphasized female chastity, it was expected that women without men to protect them would kill themselves in a situation where it was threatened. When a woman got married, her mother gave her an ornamental knife as a symbol of womans virtue. Gradually, by the middle of the Joseon period, jangdo became luxurious trinkets and the tyrant Yeonsan ( 1494 —1506) forbade common people from wearing them. A special atelier was established for making ornamental knives and daggers for the royal household. Later on, private jangdo makers spread across the country and handed down the tradition.

Polishing a knife with a bowstring

Jangdo have a variety of designs and materials, according to use. Gyeongdo Japji, written by Yu Deuk-gong, a scholar of the Practical Learning school in the late 1700s, dealt with the seasonal customs of the capital region. It also noted popular materials for the hafts and sheaths of jangdo, which included gold, silver, bronze, ivory, coral, agate, amber, malachite, jade, tortoiseshell, shark skin, and rhinoceros, ox, and goat horn. Persimmon, jujube, ebony, and other woods were more prevalent among the common people. Jangdo were often named after the material used for the haft and sheath. The shape of the haft and sheath might be cylindrical, rectangular, hexagonal, or octagonal.

Jangdo blades were usually made of smelted iron. The process began with reforging hot iron, which was formed into a sleek shape and filed to make it smooth and sharp. The artisan engraved patterns or letters on the blade. Then the hardening process was repeated. The traditional hardening methods were to thrust the hot blade into thick mud, or cover it with clay and charcoal ash, or dip it into cold water, or cover it with soybean paste. It was then heated and again dipped into cold water or covered with clay. The largest jangdo are about 16cm in length with a 10cm blade, and the smaller kind about 10cm in length with a 5cm blade. Womens pendant knives are usually of the smaller kind.

Engraving letters on a blade

As jangdo became decorative ornaments for upper-class women, the designs on hafts and sheaths increased in sophistication. Jangdo knives are valued by the rarity of their material and the designs on their hafts and sheaths. Geo-metrical patterns are the popular kinds, especially those with inlaid mother-of-pearl and wire. White bronze inlaid with black bronze wire gives a pleasant contrast which goes well with Chinese characters. Dancheong painting and a sort of cloisonné in diverse colors allowed vivid depiction of floral patterns, birds, trees, and legendary animals. Just a simple piece of celadon-color jade seems to ennoble a graceful-looking lady in a white gossamer dress in summer.

Moral values and the meaning of womens chastity have changed since the time of Confucian society. Today no woman would kill herself with jangdo knife or even carry one around in her bosom. In a sense, though, it was the counter-part of self-protection devices of today like the gas gun for warding off an attacker on a dark street corner in the concrete jungle. Despite their fierce origins, jangdo knives are now no longer literally symbols of womens virtues but just decorative objects in a showcase. Sometimes they remind us of the chastity or of the shackled lives of women in past days.

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