The Amore Museum

Introduction of Museum

The Amore museum(ex-pacific museum) is the specific theme museum dealing with women and tea culture founded by the Amorepacific Corp., whose mottos are beauty and health. It has been first opened in Daebang-dong, Seoul, in 1979 and moved to the building of HR center in 1997, renovated in 2004.

The collection of the Amore museum, related to the women ornaments, cosmetics, and tea culture, was evaluated high in quality and quantity. The representatives are the cup which imitated the animal in Silla and Gaya kingdoms, various celadons in Goryeo dynasty(918-1392), women ornaments in Joseon Dynasty(1392-1910), and portraits of Buddhist priest Cho-i and Kim Jeong-hui. There are two national treasures such as Bodhisattva of Mercy painting(No. 1426) and White porcelain jar(No.1441)

The Amore museum has published the catalogues like the Permanent Collection of the Amore Museum (2005), Mot: the beauty and style of Korean women (2005), Korean earthen cups (2002), books like History of Korean cosmetics (1987)) written by ex-director of museum, and the translation of Dongdasong and Dasinjeon (1982)) written by Cho-i and so on.

Especilly, there has been a special exhibition from Oct. 20 to Dec. 20 in 2005, whose title was Mot: the beauty and style of Korean women, in Japan folk crafts museum located in Tokyo as well as holding two time-tour exhibits rounding ten major city in 1987 and 1994 and participated in some of Korean cultural properties exhibits.

Representative Relics

Set of three norigae pendant

Era: Joseon dynasty

Size: 35.0cm

This is a large set of three norigae pendant. The materials used for a set of three large norigae pendant were rare and precious, so only the royal family and upper class women could afford this type of norigae pendant. A larger set of three norigae pendant was worn on ceremonial dresses, and a smaller set of three norigae pendant was worn by the queen when calling on the mother-in-law. This has three main ornaments ? a butterfly-shaped jade, beeswax amber nugget, and coral branches ? connected to a white jade clasp ( ttidon ). The butterfly ornament consists of a flat butterfly-shaped jade piece that is decorated with beeswax amber and beads. On the beeswax amber nugget is an incised peach design. The upper parts of the beeswax amber nugget and coral branches are wrapped with a gold plated plum design. The red, yellow, and blue octopus tassels that are attached give this norigae pendant an appearance that is all the more rich.

Turquoise perfume bead curtain norigae pendant

Era: Joseon dynasty 19th century

Size: 44.0cm

A variety of fragrant materials and herbs were crushed, mixed, and pressed into rectangular, octagonal, cylindrical, or bat-shaped bars and engraved with a variety of designs. The norigae pendant is composed of a bar attached to a cord and tassel. This norigae pendant has five rows of perfume bead strings. The surfaces of these beads are colored using pieces of turquoise blue feathers taken from the black kingfisher. Five bead strings are arranged to make the upper and lower rows, which resemble a miniature bead curtain, hence the name. Perfume bead curtain norigae pendant send forth elegant fragrance when they move and were mostly used in the royal palaces.

Silver coral hairpin

Era: Joseon dynasty 19th century

Size: 27.2cm

This hairpin is made of coral and silver. The head of the hairpin is made of a flower bud-shaped piece of coral wrapped with a stylized flower leaf made of silver. Coral hairpins were worn by upper class women. Like norigae ornaments made of coral, this hairpin shows off the beautiful natural shape of coral. Coral hairpins were worn in winter, and short coral hairpins were worn as everyday accessories. The one on the bottom was worn on ceremonial occasions.

Silver cloisonne ornamental hairpin

Era: Joseon dynasty

Size: 11.2cm

This fluttering hairpin was purely decorative and was generally used by women of the royal court for ceremonial occasions. It was usually worn as a set of three; one in the center, and one on each side of the ceremonial hairdo. A flat jade rounded, squared, or flower or butterfly-shaped body was decorated with pearl, coral, or other semi-precious stone and had fluttering ornaments attached. A gold or silver butterfly or phoenix on the spring made with silver thread flutters on the head. This hairpin belonged to Princess Hwasun, daughter of King Yeongjo (1724-1776). The flat flower-shaped jade is decorated with coral, beeswax amber, agate, red jade, and green jade. Four out of six fluttering ornaments are decorated with butterfly designs, and the remaining two are decorated with small coral beads and pearls, allowing for very exquisite beauty of movement.

“Mother and Child” celadon box with inlaid cloud and crane design

Era: Goryeo 13 th century

Diameter: H 6.1 D(m) 12.5, D(b) 7.6cm

This is a so-called “mother and child” box. Inside this large box are four small boxes and one oil bottle. At the center of the lid of the exterior box is an inlaid flower design in black and white surrounded by a double lotus design. Between the center flower and lotus along the rim are dotted clouds and six cranes. Inlaid lightning patterns in black and white are along the rim of the lid and on the side of the “mother” container. The lid and interior base of the “mother” container are decorated with a circle, inside of which is a chrysanthemum decoration surrounded by magic pearl patterns. The base and leg of the “mother” container are surrounded by double lotus designs in black and white, making this vessel all the more decorative. Inside, there are four smaller “children” containers of the same style. They are miniatures of the “mother” box. On the lids of these small boxes are inlaid double circular lines in white and stylized cloud designs. The shoulder of the small oil bottle is decorated with inlaid double circular lines in white and magic pearl designs. This set is assumed to have been used as a toiletry box to store cosmetics for women.

Celadon cup and stand with incised peony design

Era: Goryeo 12th century

Diameter: 10.1, (Cup) H 4.4 D(m) 11.7D(b)4.7(stand)H 4.4 D(m) 11.7D(b)4.76cm

The entire surfaces of both this cup and stand are covered with jade green glaze. The glaze is rather thick and dark green in areas where it concentrated before firing, giving the piece a feeling of depth. There is very little crazing on the stand, but crazing is readily apparent on the cup. The cup is wide and shallow, and the interior of the cup is decorated with a thinly incised peony design. The stand has a wide rim with an angled edge. The stand is decorated with a lotus petal design on the side and lotus fruit design on the top. The rim is decorated with a carefully incised design of lotus petals. The area between the rim and cup support is decorated with densely incised lines that look like waves. The foot of the support is somewhat wide, and some parts are dark green. The bases of both the cup and support are covered with glaze. The interior base of the cup has traces of four silica fire supports, and the cup support has traces of six silica supports.

Unicorn-shaped celadon incense burner

Era: Goryeo 12th century

Diameter: 1H 20.9, (burner) H 9.7 D(m) 9.9 D(b)18.0(lid)H 4.4 D(m) 11.7D(b)4.7cm

This figurine incense burner has two parts; a lid and the body. On top of the lid sits a mythical horned Chinese deer-like creature called a Kirin (Kirin is sometimes translated in English as "unicorn," because it looks similar to the unicorn), one of the four mythical animals. The cylindrical body of this incense burner has three legs, and the top of the body has a flat, wide, outward flaring mouth. . This type of figurine incense burner was common in the Goryeo period, along with unicorn, lion and mandarin duck-shaped incense burners. The bluish, transparent jade-green celadon glaze was evenly applied to entire surface. The base was glazed, and the piece was fired on four silica supports. The lid was also glazed entirely, and there are traces of five small silica supports for firing. The body of the burner is decorated with cloud designs all over. The side of the base of the lid is decorated with incised thunder designs. On the interior surface of the lid are traces showing that the unicorn and the base of the lid were produced separately and then joined later.

Portrait of Master Choui

Era: Joseon 1865

Material: ink and color on silk

Size: 87.0 x 54.0

This is a portrait of Master Choui (1786-1865), the great Buddhist priest who re-established the tea ceremony in the late Joseon period. Master Choui was a close friend of scholars like Jeong Yak-yong and Hong Hyeon-ju. Master Choui was especially close to Chusa Kim Jeong-hui, transcending social standing and religion. This portrait depicts Master Choui seated cross-legged on a mat looking to the right, the most common posture for portraits dating from the nineteenth century. The canvas shows the floor at the bottom and the wall above, a common means of composition at the time. Behind Master Choui stands a tall writing desk on which are the Buddhist Scriptures, as well as a teapot and burner, which indicate how he practiced the tea ceremony. The white hair and beard of the great master are rendered elaborately and realistically, and the flowing robe is naturally depicted. Shading and perspective were applied to depict the folds of the robe, the desk, and the sutras, showing the influence of Western painting styles. The calligraphy on the top is assumed to have been written by Sin Heon (1810-1884), who was another close friend of Master Choui.

Bodhisattva of Mercy

Era: Treasure no. 1426, Goryeo 14th century

Material: ink and color on silk

Diameter: 106 x 54.8

This painting of the Bodhisattva of Mercy was produced in the mid 14 th century. This is one scene from the Avatamsaka Sutra, which depicts Sudhana (A bodhisattva described in the Flower Garland Sutra) going to Potalaka Mountain to seek the way of the Bodhisattva. Numerous paintings of the Bodhisattva of Mercy were done in the late Goryeo period. The mercy of the Bodhisattva is metaphorically expressed in the way that the moon is reflected on the clear waters. In this painting, the Bodhisattva of Mercy is seen wearing a transparent veil and is seated crossed legged on a rock slightly to the right. Rock walls and two bamboo trees are seen in the background. At the right end of the rock is a kundika bottle. On the lower part stands Sudhana with hands clasped in prayer, surrounded by lotus flowers, coral, precious pearls, and precious jewelry. The skirt of the Bodhisattva of Mercy is painted with white chrysanthemums on a red background filled with tortoise shell patterns. The edges of the tortoise shell patterns are lined in white. Over the background patterns are painted lotus petals and round leaves. A lotus in circular form like this is very rare. The veil is expressed transparently and has a lotus scroll design, which is unique to Buddhist painting. The bamboo tree on the right is painted in greenish blue, with outlining in black ink. Several parts of the rock are painted light along their outlines to produce an effect of lighting.

White porcelain jar

Treasure no. 1441 Joseon 18th century

Size: H 44.5 D(m) 18.2 D(b) 17.7cm

This white jar, called a dal-hangari in Korean, or moon jar, is very representative of white porcelain jars of the 18 th century. The leg and mouth are relatively high, and the diameters of the mouth and base are about the same. Both the mouth and base are slightly flared outward. This jar has an imposing stately presence and is in good balance bisymmetrically. The glaze is evenly applied and has a glossy surface. Crazing is found on some parts of the surface, and there are tiny holes that were created when the piece was fired. The base was glazed and then wiped away before firing. A jar as large as this had to be made in two halves, top and bottom, and then joined at the center because it could not be thrown on the wheel in one piece. Because this jar was also produced that way, the shape is irregular: the right and left parts are not exactly symmetrical. The seam where the two halves were joined can still be seen inside.

Visitor's Information

Location

314-1, Bora-Dong, Giheung-gu, Yongin-si, Gyeonggi-do, 449-729,Korea

Phone

Information - +82-(0)31-285-7215 , FAX - +82-(0)31-285-6218

E-mail

hara@amorepacific.com