The Silla Kingdom (57 BCE – 935 CE) was one of the most significant dynasties in Korean history. Known for its remarkable political stability, centralized governance, and vibrant cultural achievements, Silla left an enduring legacy in the arts, particularly in pottery. The ceramics produced during the Silla period are among Korea’s most distinguished artifacts, reflecting the kingdom’s technological advancements, aesthetic sensibilities, and cultural influences.

Historical Context of Silla Pottery

The Silla Kingdom emerged as a regional power on the Korean Peninsula, eventually unifying much of the territory in 676 CE. The kingdom flourished through trade, military strength, and cultural sophistication. Pottery played a crucial role in Silla society, serving both utilitarian and ritualistic purposes. As Silla expanded its influence, its ceramic traditions evolved, incorporating elements from China, the Korean Baekje and Goryeo kingdoms, and indigenous traditions.

Silla pottery can be broadly divided into early (1st–4th century), middle (5th–7th century), and late (8th–10th century) periods, each showcasing technological advancements and stylistic refinements.

Early Silla Pottery (1st–4th Century CE)

Characteristics and Forms

In its early stages, Silla pottery was heavily influenced by local traditions and simple earthenware techniques. Early pottery was primarily handmade, with minimal decoration. The clay used was coarse, and firing temperatures were relatively low, resulting in porous and fragile vessels.

Typical forms included:

• Jar-shaped pottery (onggi) used for storage
• Simple bowls and dishes
• Ritual vessels with rough, uneven surfaces

Common forms Silla pottery included stemmed cups and bowls (kobae), short- and long-necked jars (changgyong ho), footed vessels, bulbous jars, and bell cups. Many vessels were used for storage, rituals, and burial purposes.

Production Techniques

Early Silla potters used open-pit firing, which yielded reddish-brown or black pottery. The lack of high-temperature kilns limited the durability of the ceramics, making them susceptible to breakage.

Functions and Uses

• Daily use: Cooking and storage
• Funerary purposes: Buried with the dead as grave goods, reflecting early animistic and shamanistic beliefs
• Religious use: Ritual offerings

Middle Silla Pottery (5th–7th Century CE)

The middle period marked a significant transformation in Silla pottery, driven by technological advancements and cultural exchanges with China’s Northern Wei and Tang Dynasties.

 

 

Technological Innovations

One of the most critical developments in this period was the introduction of the high-temperature kiln and reduced oxygen firing technique, which led to the production of grayish-blue stoneware. These kilns reached temperatures exceeding 1000°C, vitrifying the clay and making it stronger and non-porous.

The most common kiln type used by Silla potters was the tunnel kiln, built into hillsides. These kilns, sometimes over 18 meters long, had interior shelving and a chimney shaft for temperature control.

Distinctive Features

• Grayish-blue stoneware: The reduced oxygen firing method removed oxygen from the kiln, resulting in the characteristic bluish-gray hue.
• Smooth and hard surfaces: Unlike early porous pottery, middle Silla ceramics were dense and water-resistant.
• Wheel-thrown production: Potters increasingly adopted the wheel, allowing for more uniform shapes and precise detailing.

Common Forms

• Pedestal bowls (short and tall-footed): Used for rituals and elite dining
• Cylindrical jars with simple incised decorations
• Funerary pottery: Miniature replicas of real-life objects (e.g., houses, horses, armor) placed in tombs

Symbolism and Religious Influence

This period also saw Buddhism’s rise in Silla, influencing pottery design. Some vessels bore motifs inspired by Buddhist iconography, and certain funerary wares were modeled after Chinese and Indian Buddhist relics.

Late Silla Pottery (8th–10th Century CE)

The late Silla period marked the kingdom’s height in cultural and artistic development. Pottery production became highly sophisticated, laying the groundwork for the later Goryeo celadon tradition.

The Decline of Gray Stoneware

While gray stoneware remained in use, a transition toward more refined glazes and decorative techniques began.

The Emergence of Glazed Pottery

• Introduction of glaze techniques: Potters experimented with rudimentary glazing methods, an important precursor to Korea’s celebrated celadon ware.
• Influence from Tang China: The Silla court maintained strong diplomatic ties with the Tang Dynasty, leading to the introduction of green-glazed wares and more elaborate forms.

Decorative Elements

Pottery from this era showed increased ornamentation, including:

• Incised wave patterns (influenced by Tang Chinese aesthetics)
• Lotus and floral motifs, inspired by Buddhist art
• Carved and molded reliefs, demonstrating advanced craftsmanship

Types of Late Silla Pottery

• Green-glazed ritual vessels: Used in Buddhist ceremonies
• Lobed jars and bowls: Featuring elegant, curved shapes
• Roof tiles and architectural ceramics: Adorned with Buddhist symbols, often used in temple construction

Cultural Significance of Silla Pottery

Silla pottery was not merely functional—it reflected the kingdom’s social hierarchy, religious beliefs, and artistic ideals.

Social and Political Role

• Burial goods for the elite: Elaborate pottery was often placed in tombs, signifying status.
• Royal commissions: High-quality ceramics were made for the court and Buddhist monasteries.
• Trade and diplomatic gifts: Some Silla ceramics were exchanged with Japan and China.

Connection to Buddhism

With the adoption of Buddhism as the state religion in the 6th century, many pottery items took on religious functions, such as:

• Offering vessels for Buddhist rituals
• Funerary urns to hold cremated remains
• Temple wares for ceremonial use

Artistic Influence on Later Periods

Silla pottery heavily influenced the development of Goryeo celadon (11th–14th century), one of Korea’s most famous ceramic traditions. Techniques such as high-temperature firing, glazing, and wheel-thrown production were perfected during Silla’s reign and passed down to later generations.

Archaeological Discoveries and Modern Appreciation

Silla pottery has been extensively excavated from burial mounds, temple sites, and ancient settlements. Some of the most remarkable finds include:

• Gyeongju Tombs: Hundreds of gray stoneware vessels and funerary figurines discovered in royal graves.
• Bulguksa Temple: Excavations reveal high-quality architectural ceramics used in temple construction.
• Seokguram Grotto: Pottery fragments from religious sites indicate Buddhist influences in ceramic production.

Today, Silla pottery is preserved in museums worldwide, including the National Museum of Korea, where rare examples of Silla ceramics are displayed. Scholars and collectors continue to study its impact on East Asian ceramic traditions.

Questions and answers

How does Silla pottery differ from later Korean ceramics?

Unlike later Korean ceramics, which were influenced by Chinese styles, Silla pottery retains an indigenous character. According to art historian Chewon Kim, Silla pottery has a raw, natural aesthetic that distinguishes it from later refined ceramics.

What materials and techniques were used in Silla pottery?

Silla potters produced high-fired gray stoneware, shared with the Baekje and Gaya states. Kilns reaching 750°C to 1000°C (1382°F – 1832 °F) were used, a technology linked to iron production in the Gaya Confederation. Though glazing was not intentional, accidental ash sometimes created a primitive glaze.

What were bell cups used for?

Bell cups were hollow vessels with small clay balls inside that rattled when moved. Their exact function is unclear, but they may have been used in rituals or as status symbols.

What are figurine ewers (tou), and what were they used for?

Figurine ewers are elaborate vessels shaped like warriors, horsemen, boats, chariots, and architectural structures. They were used for pouring rice wine or water in rituals and were placed in tombs to accompany the deceased into the afterlife.

What types of miniature ceramic figurines have been found from Silla tombs?

Miniature ceramic figures include animals such as dogs, cows, pigs, tigers, rabbits, ducks, turtles, snakes, and even an elephant. The elephant appears crudely rendered, suggesting the potter had never seen one firsthand.

What are two famous examples of figurine ewers?

Two notable figurine ewers were found in the Golden Bell Tomb (Gyeongju, 1924 CE), depicting a warrior and a servant on horseback. The warrior wears an aristocratic hat and short sword, while the servant leads the way. The spout is located on the horse’s chest, with a funnel behind the rider.

What were pottery stands (kurut pachim) used for?

Pottery stands, produced in Silla, Baekje, and Gaya, were designed to hold bowls or had an integrated bowl at the top. They were used for serving food and possibly in religious ceremonies.

How were ceramic lamps designed in the Silla period?

Ceramic lamps typically featured multiple small oil cups arranged around a larger central cup, sometimes connected by channels. Some included suspended leaf decorations similar to Silla gold crowns.

What motifs were commonly used on Silla pottery?

Silla pottery was decorated with geometric patterns, including circles, wavy lines, V-shapes, and parallel bands. Some vessels featured applied clay figures of musicians, laborers, and shamanistic symbols like snakes and leaves.

How did pottery change during the Unified Silla period?

During the Unified Silla period (668–935 CE), pottery reflected Buddhist influences. Cremation led to the production of ceramic urns adorned with Buddhist motifs, and architectural ceramics such as floor and roof tiles became more prevalent.

How did Silla pottery influence later Korean ceramics?

By the 8th century CE, Silla potters experimented with ash glazes, an early precursor to the celadon ceramics of the Goryeo period. Though mostly utilitarian, Silla pottery laid the foundation for later Korean ceramic traditions, influencing styles across East Asia.