SILVER INLAYING - AN ANCIENT CRAFT
The technique of inlaying metal surfaces is similar to inlays in wood. The German name "Tauschierung" is derived from the Arabic word for dyeing, tauschija.
Mostly precious, softer metals such as silver or gold are fitted into harder metals - iron, steel, bronze or copper. The ornaments are created by carving out narrow lines, but inlaying of larger areas is also possible. The color contrast creates patterns and decorations that enhance the carrier material.
The pattern is scratched into the metal using a graver, chisel or punch. The side edges of these grooves have a special cut so that the decorative metal remains securely anchored later. The precious metal is placed on top and pressed or hammered in with a tool. The surface is then smoothed, sanded and polished.
The first attempts at inlaying are known from the Bronze Age, for example with the Nebra sky disk (around 1600 BC). In ancient times, weapons, jewelry and horse harness were decorated with inlays.
In the early Middle Ages of the Merovingian period (around the 7th century), inlaying was particularly valued among the Alemanni, Thuringians and Franks. Here too, the technology was used for weapon parts, fittings, armor and horse harness.
In Korea, silver inlaying on the base material iron was particularly well known. From the collection of the Mission Museum we show iron boxes for tobacco or incense with silver inlay. Trays and other objects were also decorated using this technique with rich ornamentation and symbols of happiness and long life. This is understandable given that smoking, especially pipe smoking, was considered beneficial to health in ancient Korea. However, these containers for storing tobacco, richly decorated with silver inlay, were reserved for the upper class.
Today the technique of inlaying is still practiced, especially in oriental cultures, for objects made of copper and expensive hunting weapons.
Because of the high amount of work involved, the technique is only used by a few goldsmiths, blacksmiths or engravers.
Round Iron Tray (eunsanggampyeonjegi-jeobsi), early 20th century
Round Iron Tray (eunsanggampyeonjegi-jeobsi), early 20th century 
Iron tray, line inlaying with silver wire in three concentric circles. In the inner circle there is a geometric decoration, in the second circle there are four bats. The bat has traditionally been used as a symbol of good luck, as the Chinese character for bat is pronounced the same as the Korean character for good luck.
The outer circle ends with a geometric decoration. The flat shape suggests that this vessel was probably used as a base for another vessel.
Pair of Stirrups (maldeungja / ma-balgeori), 19th century
Pair of Stirrups (maldeungja / ma-balgeori), 19th century 
The stirrups were attached to the saddle with a leather strap that was threaded through the eyelet in the center of the stirrups. Mounted soldiers could put their weight on the stirrups and use their hands freely during battle.
This pair of stirrups is characterized by a rectangular tread on which wood was placed to prevent slipping. The side parts of the tread are decorated with an openwork swastika pattern, a religious symbol of good luck that has been used in Hinduism and Buddhism for thousands of years. The stirrups are decorated with diagonal lines of silver inlay.
They can be seen in a photo taken by P. Placidus Vogel during his visit to Korea in 1911, so that the period in which they were acquired can be roughly estimated.
Iron Candlestick (chotdae), late 20th century
Iron Candlestick (chotdae), late 20th century 
A special feature of the four-part candlestick with base and stand are the two attachable leaf-shaped candle shades with bat decoration and the Chinese character hui (happiness, double joy). On the one hand, they ensure that the flame does not go out in drafts, but they also reflect light and thereby increase the brightness.
There is a kind of flag attached to the top of the stand. It shows two dragons fighting for a yeouiju (magic pearl). There is a lizard-like mythical creature on the edge of the flag.
The stand and base of the candlestick are decorated with silver inlay. The stand is decorated with chased plant decorations and the base is divided into three circles showing (only faintly visible) eight-petaled flowers, bamboo, a dragon and grass. The edge of the base is curved outwards. There are Sanskrit characters and plant engravings on it.
The ornate design of the candlestick suggests its use in the royal family. However, the museum's inventory book states that the object was a royal gift for a temple.
The collector was Archabbot Norbert Weber, who wrote in his travel memories: "Here I am pleased to be able to add the comment that I was able to get a wonderful candlestick, also made of iron with hammered silver decorations. It comes from the time when art and crafts flourished in Korea and, judging from its unusual size, it once stood in a temple. It is a masterpiece of fine stylization and tasteful distribution of space…" (N. Weber: In the Diamond Mountains of Korea, 1927, p.49)
Hexagonal Brass Box with Lid (baekdong subokmun yukgak-hab), 19th/20th century
Hexagonal Brass Box with Lid (baekdong subokmun yukgak-hab), 19th/20th century 
Hexagonal Snuff Box (eunipsa-yukgak-sibjangsaengmun-hap), 19th century
Hexagonal Snuff Box (eunipsa-yukgak-sibjangsaengmun-hap), 19th century 
Such containers were fashionable in the early 19th century and were favored by wealthy members of the nobility when tobacco leaves became popular. The six side panels are decorated with inlaid silver patterns of ten 10 symbols of long life, including a turtle, a crane and a deer, framed by a ribbon.
The lid shows geometric figures, among them the "Seven treasures" motif with stylized flower petals.
Hexagonal Incense Box (eunipsa-yukgak-sibjangsaengmun-hap), 19th/20th century
Hexagonal Incense Box (eunipsa-yukgak-sibjangsaengmun-hap), 19th/20th century 
This iron container also has silver inlays with ten symbols for long life.
The crane depicted represents eternal youth and loyalty. Cranes have a long lifespan and choose a partner for life. They have white feathers that symbolize purity and grace. Cranes can fly high, which brings them closer to the sky.
Tobacco Box with Handles and Sliding Lid (eunipsa-sagak-dambae-hab), 19th century
Tobacco Box with Handles and Sliding Lid (eunipsa-sagak-dambae-hab), 19th century 
This iron box was used to store tobacco leaves. The sliding lid is decorated with the Chinese character su, which means "longevity". It is surrounded by a circular band with the so-called Seven Treasures pattern against a background of a grid pattern.
The brass plate with handle on the front has a round button that can be used to unlock the sliding lid.
Oblong Tobacco Box with Lid (eunipsa-sagak-dambae-hab), 19th century
Oblong Tobacco Box with Lid (eunipsa-sagak-dambae-hab), 19th century 
On the lid the Chinese character hui for joy and double happiness. The four sides of the body are decorated with crane, lingzhi mushrooms, pine tree, turtle and other symbols of longevity and good fortune. Dome-shaped legs are attached to each corner of the floor.
The inside is painted black, the floor is coated with bitumen to protect against moisture. Such boxes were fashionable among court officials in the late Joseon period (19th century).
Six-petaled Tray (eunsanggamyukyeonyeob-jeobsi), 19th/20th century
Six-petaled Tray (eunsanggamyukyeonyeob-jeobsi), 19th/20th century 
Round Box (eunipsa-wonhyung-eohaemun-hap), 19th/20th century
Round Box (eunipsa-wonhyung-eohaemun-hap), 19th/20th century 
Box for Storing Tobacco Leaves (eunipsa yukgak sibjangsaengmun hap), 19th century
Box for Storing Tobacco Leaves (eunipsa yukgak sibjangsaengmun hap), 19th century 
This hexagonal container was used to store tobacco leaves. The lid has a schematic pattern of the character su (longevity) in the middle.
The body is inlaid with patterns symbolizing longevity and marital harmony, including deer, turtles and a pair of mandarin ducks. The container stands on three feet.
