Shimmering History: The Rise of Najeonchilgi in the Goryeo Dynasty
Introduction
While watching the qualifiers for the 2026 World Cup, viewers may have noticed South Korea’s new away kit—a dark black shirt adorned with swirling, pearl-like colors. Although many in the soccer community have praised its aesthetic appeal, the deeper significance of its design often goes unrecognized. This design draws inspiration from najeonchilgi (나전칠기), or mother-of-pearl lacquerware, a rapidly disappearing Korean craft that involves embedding mother-of-pearl into lacquered wooden goods. Characterized by shimmering iridescent depictions of scenery set against dark wood, this technique has historical roots tracing back to the Goryeo period. However, it only became a popular subject of study in 1924, when a lacquered box inlaid with a chrysanthemum mother-of-pearl design was discovered. This occurred after excavated pieces from Goryeo tombs were transferred from the Yi Royal Household Museum to Japan for restoration. (Kawada)
Even with heightened academic focus on this style of lacquerware, relatively few pieces from the Goryeo Dynasty have been excavated, leading to conflicting conclusions about its origins. (Choi, 2) Despite these uncertainties, lacquerware has remained a significant part of Korean cultural heritage, reflecting the various cultural shifts Korea has experienced due to foreign influences. Over time, the cultural significance of najeonchilgi has evolved—from a symbol of wealth during the Goryeo period to a perceived relic of the past in modern times. By examining the history of Goryeo’s najeonchilgi, the development of its techniques, and the elements that make it uniquely Korean, this biography aims to provide a multifaceted understanding of the craft.
Cultivation of the Foundation for Najeonchilgi
The origins of najeonchilgi remain unclear due to the scarcity of historical documentation detailing its early development. However, evidence suggests that Korea initially adopted the inlaying technique through Lelang influence. This is supported by the discovery of lacquer pieces in Old Silla (57 BCE–668 CE) tombs, which display forms, decorations, and general techniques reminiscent of Lelang lacquerware. (Choi, 3)
Lacquerware’s presence in Korea continued into Unified Silla (668–935 CE), as indicated by records in the Samguksagi (三國史記: History of the Three Kingdoms), which describe the establishment of a lacquerware production office within the Inner Bureau in charge of palace crafts, known as Chiljeon (漆典). (Kawada) Further evidence comes from the excavation of Anapji (雁鴨池: Anap Pond), a secondary palace of Unified Silla, where artifacts unearthed between March 1975 and December 1976 included a significant number of lacquered objects, such as furniture and vessels.(Kawada) These discoveries highlight both the popularity of lacquerware during this period and the strong influence of the Tang dynasty on Unified Silla’s artistic traditions. (Kawada)
During this golden age of Tang-Silla artistic exchange, the groundwork for mother-of-pearl craftsmanship in Korea emerged. A key example of this transmission is mokwa (木畵), a Tang dynasty technique that incorporated contrasting materials to create intricate motifs. (Kawada) This influence is particularly evident in the mother-of-pearl decorations on a mirror excavated from a Gaya tomb, whose stylistic elements closely resemble those of baoshijing (寶飾鏡: jewel-ornamented mirrors) from the Tang period. (Kawada) Given that Gaya predated Goryeo and was eventually absorbed by Silla, these findings suggest that the foundations of Goryeo’s najeonchilgi were laid well before Goryeo’s establishment. With lacquerware techniques having developed in Silla under Lelang and Tang influences, Goryeo was able to refine and establish a distinctly Korean identity for najeonchilgi.
The Emergence of Distinctly Korean Najeonchilgi in Goryeo
As the powerful aristocratic clans obtained power from the end of the Unified Silla era, the values of the aristocratic class soon followed. Buddhism was established as the state religion which increased the demand for Buddhist ritual objects, many of which were created with the developed lacquerware techniques. The desire for a luxurious lifestyle by the aristocrats also led to the increased investment in the arts created in Goryeo, including lacquerware, metal arts, and celadon ceramics. (Choi, 9) To facilitate these new ideals, the Chiljeon was established as the office of Gongjoseo (洪造署) (Jungsangseo, 中尙署) by King Mokjong the seventh ruler of Goryeo. (Choi, 11) This office, as stated in The History of Goryeo (Goryeosa, 高麗史) divided craftsman into distinct court office names, including mother-of pearl inlay master (najeonjang 螺鈿匠), and lacquer master (chiljang 漆匠) reflecting the emphasis on the specific crafts that Goryeo valued. (Choi, 11) Through a comparison of the development of the more studied Korean celadon pottery and its motifs alongside najeonchiligi, a distinct development of Korean lacquerware can be identified.
Korean celadon is a highly valued jade green pottery style that, similar to najeonchilgi, gained popularity through increased contact with China through the Song dynasty which had taken over shortly after the Tang dynasty. (Cartwright) (Fig 1) Buddhism symbolism is highly prevalent in its designs but is marked with a distinct red, brown, and white clay inlay technique called sanggam. (Cartwright) This technique utilizes finely carved designs that are then filled with clay inlay or gold, typically done so delicately that they resemble brush strokes. (Cartwright) Similarly, Koryo’s najeonchilgi was distinguished by an exceptionally fine pattern technique called jeolmun (截文). This involved etching patterns so intricate that some measured less than 1 cm in diameter. (Kawada) The designs of both najeonchilgi and celadon pottery often featured chrysanthemums, lotus flowers, and cranes, common motifs reflecting Buddhist aesthetics. (Fig. 2) Given these shared artistic characteristics, jeolmun likely marked the beginning of a distinctly Korean mother-of-pearl lacquerware tradition, paralleling the uniquely Korean sanggam technique in celadon. This is further supported by records of Yuan Chinese requesting for Goryeo lacquer as an tribute item and the Chinese literati’s desire to possess Goryeo-crafted writing-brush stands adorned with inlaid mother-of-pearl demonstrating a distinctly different Korean najeonchilgi. (Syeung-gil, 111).
Interestingly, while China had initially influenced Goryeo’s lacquer techniques, thin mother-of-pearl inlays only became widely used in China after the Yuan dynasty, suggesting a reverse transmission of Korean craftsmanship into China. (Choi, 8-9) While the origins of lacquerware in Korea may not have been distinctly Korean, najeonchilgi emerged as a craft representative of the shifting techniques of artistry specific to Korea.
Figure 1. Bottle decorated with chrysanthemums and lotus petals, 13th century, Goryeo Dynasty, H. 34.6 cm Diam 18.7 cm, The MET
Figure 2. <나전 국화넝쿨 무늬합>, Mother-of-pearl chrysanthemum and vine pattern case, 12th century, Goryeo Dynasty, 10 cm long, 50g, Overseas Korean Cultural Heritage Foundation
Techniques
Najeonchilgi stands out for its distinctive craftsmanship, combining intricate techniques with external influences that shape its unique aesthetic. These techniques and motifs can be grouped into three distinct features. As mentioned before, jeolmun is the technique of etching small carvings in which mother-of-pearl would be placed. (Kawada) Notably, the jeolmun utilized in najeonchilgi would not be implemented as its own standalone pattern but rather as a component of a grander pattern that required several different jeolmun patterns to combine into a coherent piece. These patterns, as seen in Figure 3, would be implemented densely while avoiding fully covering the surfaces with repeated design motifs. This would create intricate iridescent patterns highlighted by the black lacquerware in the background. This preference for spatial harmony represents the commonly preferred aesthetics at the time which was highly influenced by popular Buddhist motifs.
The second distinct feature of najeonchilgi is the utilization of silver or brass wires that interweave with the jeolmun patterns. There were two primary methods of usage of these wires. A single wire would be used to create branches or vines of flowers while two wires, chakseon, would be used on the outer borders of objects or sections. These wires would be glued onto the primed surface, coated with lacquer, and then rubbed down to reveal the underlying pattern. (Kawada) The dense yet distinct patterns are shown in Figure 3, demonstrating the intricacies and care that was invested in this type of lacquerware. Due to the emphasis on spatial harmony, these wires would help highlight the distinct patterns in the najeonchilgi. This technique, while not apparent in objects from the Tang or Song dynasties, would be reintroduced in Yuan and Ming dynasties. (Choi, 8-9) While there are not many extant objects, it is suspected that mother-of-pearl lacquers from Goryeo exerted great influence on Yuan and Ming dynasty mother-of-pearl lacquerware.
The last characteristic is the use of daemobokchae with najeonchilgi. Daemobokchae (玳瑁伏彩: colored tortoiseshell) would be utilized by coloring the underside of the tortoiseshells and pasting the underside to the surface, using the semitransparent nature to emit the desired colors while having a natural protective layer provided by the shell. (Kawada) These techniques reflect a sophisticated craftsmanship that not only embodies the aesthetic preferences of the Goryeo Dynasty but also highlights the lasting influence this art form had on subsequent dynasties.
Figure 3, <고려 나전 팔각합>, Goryeo Mother-of-pearl Octagonal Box, 14th century, Goryo Dynasty, Height 8.0 cm, width 16.4 cm, Aichi Prefectural Ceramic Museum Catalog
Cultural Significance of Goryeo’s Najeonchilgi
Just as there have been few extant examples of Goryeo najeonchilgi, there has also been few historical documents discussing them. However, with the contents currently available and the context surrounding the production of najeonchilgi, we can understand the cultural significance that najeonchilgi held. The earliest records regarding najeonchilgi is the Compilation of Reference Documents of Korea (Dongguk Munhun Bogo, 東國文獻備考), a document from 1049, the beginning of the reign of King Munjong of Goryeo. In the document, it states how lacquerware folding screen inlaid with mother-of-pearl was sent to the Liao dynasty king’s palace. (Choi, 10) The role of najeonchiligi as diplomatic gifts reflects not just the technical level of the work done but as said in the Illustrated Accounts of Goryeo, it is “the work of the nation.” (Choi 12) Najeonchilgi became such a representative component of Goryeo that the most talented craftsman would serve in the government bureau.
Beyond cross-national relations, as mentioned before, najeonchilgi was also a symbol of the development and emphasis of crafts within Goryeo. As rare goods and resources began funneling into Yaseong-hang (禮成港), the port of entry at the capital of Goryeo (Gaeseong), the Chiljeon craftsman were able to make a vast variety of najeonchilgi crafts for the royal family and the aristocracy. Due to the precious raw materials, these creations were limited to the aristocracy and the very wealthy. The crafts would range from brush cases, inkstone cases, writing desks, and even saddles. (Choi, 15) Notably, many had Buddhist function, again demonstrating Goryeo’s establishment of Buddhism as the state religion. This is highlighted by many of the extant Goryeo najeonchigli being of Buddhist function, such as sutra cases, rosary cases, or Buddhist chowrys. Furthermore, in 1272, King Wonjong founded a workshop dedicated to the mass production of lacquered boxes designed to safeguard Buddhist scriptures, preceding the publication of the Tripitaka Koreana, a comprehensive collection of Buddhist sutras accompanied by commentaries and explanatory notes. (Syeung-gil, 111) Due to the religious influence and the growth of craft production including the common people in the Goryeo dynasty, there are suspicions that the general population may have attempted to develop their own najeonchilgi craft to implement in their local Buddhist temples but this is not well substantiated. (Choi, 12) Thus, Goryeo najeonchilgi, while visually pleasing, also represented the aesthetic of the Goryeo period along with the primary religion at the time.
Conclusion
The development and cultural significance of Goryeo's najeonchilgi, or mother-of-pearl lacquerware, reflects the intricate blending of external influences and distinctly Korean innovations. The technique evolved from early Silla and Tang influences, ultimately establishing a unique Korean identity through refined craftsmanship during the Goryeo Dynasty. While initially influenced by China and other neighboring cultures, najeonchilgi came to represent not only the aesthetic values of Goryeo but also its political and religious identity, particularly the strong association with Buddhism. As a luxury craft, it symbolized the wealth and prestige of the aristocracy, while its religious functions underscored the deepening role of Buddhism within Korean society. Through a study of its techniques, motifs, and cultural context, it becomes clear that najeonchilgi was more than just a decorative art form; it was a cultural artifact that played a key role in the diplomatic, religious, and artistic spheres of the Goryeo period. Despite the scarcity of surviving examples, the legacy of najeonchilgi continues to resonate, as seen in its modern-day revival, most notably in South Korea's national identity, exemplified by South Korea’s 2024-2025 soccer away kit.
Works Cited:
Cartwright, M. (2025, March 21). Korean Celadon pottery. World History Encyclopedia. https://www.worldhistory.org/article/945/korean-celadon-pottery/
Choi, Y. S. (2001). Goryeo Dynasty Lacquerware with Mother-of-Pearl Inlay. Misulsa Yōn’gu (Journal of Art History), 15.
Paik, S.-G. (2002). Lacquerware in Korea. In Lacquerware in Asia, today and yesterday (pp. 109–116). essay, UNESCO Publishing.
Sadamu, K. (2008). Korean Najeonchilgi of the Goryeo and Early Joseon Periods. Journal of Korean Art & Archaeology, 2(0), 66-89, https://doi.org/10.23158/jkaa.2008.v2_04
Artifact References:
Figure 1: The Metropolitan Museum of Art. (n.d.). Bottle decorated with chrysanthemums and lotus petals [13th century, Goryeo Dynasty]. The MET. https://www.metmuseum.org/art/collection/search/270776 (Object number: 27.119.6)
Figure 2: Overseas Korean Cultural Heritage Foundation. (n.d.). Mother-of-pearl chrysanthemum and vine pattern case [12th century, Goryeo Dynasty]. Overseas Korean Cultural Heritage Foundation.
Figure 3: Aichi Prefectural Ceramic Museum. (n.d.). Goryeo mother-of-pearl octagonal box [14th century, Goryeo Dynasty]. Aichi Prefectural Ceramic Museum Catalog.
