The Art Where Natural Lacquer and Mother-of-Pearl Meet: The Story of Korean Najeonchilgi Shaped by 2,000 Years of Craftsmanship

Shells of clams and abalone that may appear, at first glance, to be nothing more than discarded remnants.
Yet, when they meet the hands of a master artisan and a refined artistic sensibility, these humble materials are transformed into Najeonchilgi—an art of light that carries two thousand years of history.

Korean Najeonchilgi: The Art of Light Shaped by 2,000 Years of Craftsmanship

Korean Najeonchilgi is a traditional craft that utilizes natural lacquer and mother-of-pearl. It reached its artistic peak during the Goryeo Dynasty and has been passed down to the present day as a uniquely refined cultural heritage. This article aims to provide readers with an in-depth introduction to the history, production process, aesthetic value, and contemporary significance of Korean Najeonchilgi.

Introduction: The Essence of Korean Traditional Crafts, Najeonchilgi

Dear readers, hello. Today, I would like to introduce you to Najeonchilgi, one of Korea’s most representative traditional crafts. Let us begin right away. 

 When discussing Korean traditional crafts, Najeonchilgi is an art form that cannot be overlooked. More than a decorative technique, Najeonchilgi is a comprehensive art that embodies the Korean worldview of nature, aesthetic sensibility, and centuries of accumulated craftsmanship. Created by carefully affixing thinly processed pieces of mother-of-pearl onto a surface coated with natural lacquer extracted from lacquer trees, Najeonchilgi captivates the viewer with its deep, iridescent beauty that changes color depending on the angle of light.

 For international readers, Najeonchilgi is often compared to Japanese raden or Chinese lacquerware. However, Korean Najeonchilgi possesses a distinct identity in terms of material selection, pattern composition, and production techniques. In particular, the Najeonchilgi perfected during the Goryeo Dynasty has long been regarded as one of the finest craft traditions not only in East Asia but also in the world. 

 In this article, we will systematically explore the origins and history of Korean Najeonchilgi, its production techniques, artistic characteristics, and its transformation and meaning in modern times.

1. Definition and Etymology of Najeonchilgi

Najeonchilgi refers to lacquerware decorated by cutting and inlaying pieces of shell, known as najeon, onto the surface of lacquered objects according to specific patterns. In the term “Najeon (螺鈿),” “Na (螺)” means shell, while “Jeon (鈿)” refers to an inlaid decorative technique using metal or ornamental plates. Thus, Najeon originally denotes a decorative method, and when combined with lacquer, it forms what we call Najeonchilgi.  

In Korea, mother-of-pearl has long been referred to by the native Korean term “jagae,” and the process of Najeon work has traditionally been described as “jagae inlay.” These expressions continue to appear naturally in everyday language today, such as “jagae cabinet” or “jagae chest,” illustrating how deeply Najeonchilgi is connected to the daily lives and cultural memory of the Korean people.

2. Origins and Ancient Foundations of Korean Najeonchilgi

Korean Najeonchilgi did not emerge suddenly. Rather, it developed upon more than 2,000 years of continuous tradition in wooden lacquerware. Recent archaeological research confirms that as early as the Bronze Age, people on the Korean Peninsula produced and used wooden objects coated with lacquer. This indicates that both the material and the technology of lacquer had already become firmly embedded in everyday life at a very early stage. 

 During the Three Kingdoms period, various lacquerware techniques were introduced through cultural exchange with China, and over time, Korea developed its own distinctive methods. In the Unified Silla period, lacquerware became so important that a government office known as the “Chiljeon” was established to oversee its production, reflecting its significance as both an industry and a cultural asset.

 Decorative techniques such as the pyeongtal method flourished during this era and became the direct foundation for later Najeonchilgi. 

The Najeon floral-patterned bronze mirror from the Unified Silla period, the oldest surviving example of Najeon craft, demonstrates that the technical level of Korean Najeonchilgi was already remarkably advanced.

3. The Goryeo Dynasty: The Golden Age of Najeonchilgi

The pinnacle of Korean Najeonchilgi is undoubtedly found in the Goryeo Dynasty. During this period, Najeonchilgi was used by the royal court, aristocracy, and Buddhist temples, and it was introduced overseas through diplomacy and trade, gaining fame as a “specialty of Goryeo.” 

 Seo Geung, a Song Dynasty envoy who visited Goryeo in 1123, wrote in Xuanhe Fengshi Gaoli Tujing that “although lacquerware itself is not exceptional, the Najeon work is so meticulous that it can truly be called precious.” This record is considered an important historical source that objectively attests to the refinement and artistic excellence of Goryeo Najeonchilgi.

 A defining feature of Goryeo Najeonchilgi is the use of extremely thin slices of abalone shell to create intricate patterns. Motifs such as chrysanthemums, scrolling vines, and peonies were harmoniously arranged across entire surfaces, while materials like silver wire, copper wire, and tortoiseshell were also incorporated. These complex decorative techniques elevated Goryeo Najeonchilgi beyond mere craft to the level of painterly and sculptural fine art.

4. The Joseon Dynasty: Transformation and Popularization

In the Joseon Dynasty, Najeonchilgi continued the traditions of Goryeo while gradually undergoing change. Early Joseon works followed Goryeo styles but emphasized a simpler and more restrained aesthetic. Over time, Najeonchilgi expanded beyond the royal court and elite classes into broader society. 

 From the 18th century onward, as the rigid class system weakened and commerce developed, demand for Najeonchilgi spread among ordinary people. Patterns became freer and more pictorial, featuring motifs symbolizing nature and longevity, such as pine trees, bamboo, plum blossoms, cranes, and deer. 

Najeonchilgi began to be widely applied to furniture and everyday household items. Rather than the highly refined aristocratic beauty of the Goryeo period, Joseon-era Najeonchilgi reflects a warmer, more human-centered aesthetic that strongly conveys Korean emotional sensibilities.

5. Materials and Production Process of Najeonchilgi

The essential materials of Najeonchilgi are lacquer and mother-of-pearl. Lacquer is refined from the sap of the lacquer tree and has the unique property of hardening only under natural conditions. As a result, lacquer work can only be performed in environments with high humidity and appropriate temperatures, and even a single layer requires more than a day to dry. 

 Mother-of-pearl is primarily obtained from abalone shells, with shells harvested from Korea’s southern seas being especially prized for their color. Grinding the shell into paper-thin sheets, cutting it into precise patterns, and affixing each piece individually onto the lacquered surface demands extraordinary concentration and skill. Completing a single piece of Najeonchilgi can require dozens or even hundreds of steps. 

Traditionally, craftsmen such as the wood core maker, lacquer artisan, Najeon inlay artisan, and metal fitting artisan each assumed specialized roles, working collaboratively. This production system illustrates how Najeonchilgi evolved not merely as an individual skill, but within a shared community of master artisans.

6. Aesthetic Characteristics and Value of Korean Najeonchilgi

The most distinctive aesthetic feature of Korean Najeonchilgi can be described as splendor within restraint. The iridescence of the mother-of-pearl is never excessive; instead, it reflects softly against a deep black lacquer background, creating a profound sense of depth and spatial harmony. 

This quality resonates with the Korean aesthetic philosophy that values respect for nature and balance. In pattern composition, the use of empty space is particularly sophisticated. Repetitive yet rhythmic designs convey both stability and vitality to the viewer. These characteristics distinguish Korean Najeonchilgi clearly from its Chinese and Japanese counterparts.

7. Modern and Contemporary Periods: Crisis and Rediscovery

During the Japanese colonial period and subsequent industrialization, Najeonchilgi faced a serious crisis. 

Even in the 1980s, small furniture workshops producing mother-of-pearl wardrobes could easily be found in satellite cities around Seoul. At that time, such wardrobes were among the most desired wedding gifts for brides. Although Korea had not yet achieved today’s level of economic growth, many newlyweds prepared for marriage with elaborately lacquered and mother-of-pearl-inlaid wardrobes.

 However, with the rise of mass production and inexpensive substitute materials, traditional production methods gradually lost ground, and in some cases, traditions were distorted. Fortunately, with the establishment of the National Intangible Cultural Heritage system, Najeon and lacquer artisans began to receive protection, opening a path for restoration and transmission.

 In recent years, the artistic value of Korean Najeonchilgi has been rediscovered in international art markets, museums, and luxury brands. At the same time, contemporary Najeon works combining traditional techniques with modern design are gaining renewed attention, particularly among younger generations.

Conclusion: Korea’s Time Reflected in Light

Korean Najeonchilgi is far more than a traditional craft. It is the crystallization of culture created through the interaction of nature and humanity, time and technique—a luminous record of 2,000 years of history. Despite countless historical changes, Najeonchilgi has been continuously passed down and remains a living tradition filled with new possibilities.

 For international readers, Korean Najeonchilgi can serve as a window into the depth and refinement of Korean culture. The slow and deliberate world of Najeonchilgi resonates even more deeply in today’s society, which often prioritizes speed and efficiency. I sincerely hope that this shining tradition will continue far into the future.

 Thank you very much for reading until the end. I look forward to meeting you again soon with new content.