Composition and Application of the “Chilbo Pattern” on Blue and White Porcelain of the Late Joseon Period

Abstract

What is called the “Chilbo” pattern consists of multiple motifs that bear traditional values of auspiciousness, rarity, or preciousness. Although the well-ordered, complex design enjoyed great favor in the production of the Late Joseon decorative arts, little academic attention has been paid so far unfortunately. Comprehensive examination of textual sources and surviving examples, however, sheds a new light on a body of less-studied scholarly issues including the origin of the Chilbo pattern, its composition, and especially the way in which the pattern was applied to underglaze cobalt blue decoration in the late Joseon period. Specific motifs such as coins of gold or silver or other metals, which constitutes the Chilbo pattern, were collectively referred to as “Treasure Motifs,” the concept of which made the first appearance in the Tang dynasty (618~907) and gradual developments from the Song (960~1279) up to the Qing (1644~1912) dynasties. The motifs from China and similar kinds together earned an all-inclusive designation in Korea: Chilbo. Among various decorative media across which the Chilbo pattern was widely employed is the Blue and White porcelain especially remarkable; featuring a diversity of design possibilities, the medium was widely favored in the late Joseon society from the royal court to a private house. A survey of extant porcelain examples reveals that the pattern was used in the whole range of everyday wares; furthermore, it confirms that at least 23 motifs have been included in the Chilbo combination. The pattern’s potential to integrate primary and subsidiary motifs brought about huge applicability. In other words, the Chilbo pattern became popular since the potential diversity of motif combinations allowed the pattern to yield a myriad of compositional variations.