The Iconographic Origins and Significance of the Hibiscus Mutabilis Motif (芙蓉紋) in Koryŏ Celadon

This study aims to identify and contextualize a specific type of hibiscus mutabilis (puyong) motif that has often been classified under broader categories such as peony or lotus (posanghwa) patterns in Koryŏ celadon. Recognizing the limitations of analyzing ceramic motifs in isolation, this research adopts a synchronic and interdisciplinary approach that encompasses contemporaneous visual materials from painting, ceramics, metalwork, and stone carving, while also considering the impact of foreign artistic exchange. Through this method, the study confirms that the motif of the wooden-stemmed hibiscus mutabilis (mok puyong) had been continuously employed across various art forms in China—from Tang-dynasty paintings and embroidery to ceramics and lacquerware—and that its transmission extended to Koryŏ celadon as well. Furthermore, the hibiscus mutabilis , symbolizing not only feminine beauty (絕世佳人) but also resilience against frost (拒霜), came to embody ideals of integrity, inner strength, and noble character—qualities celebrated in both literature and visual culture. The hibiscus mutabilis motif in Koryŏ celadon gained particular popularity in the 12th century, a development closely tied to the resumption of diplomatic and cultural exchange with the Northern Song in the late 11th century. The direct arrival of Northern Song officials and the influx of Chinese textiles significantly influenced Koryŏ visual culture. Notably, certain formal elements unique to Chinese hibiscus mutabilis embroidery designs appear in Koryŏ celadon, suggesting the use of painted pattern manuals and their adaptation into ceramic decoration. In the first half of the 12th century, the motif was rendered using sophisticated relief carving, impressed designs, and incised lines primarily within arabesque compositions. In the latter half, the hibiscus mutabilis appeared more frequently in iron-painted techniques and reserved slip designs, which eventually became simplified into abstract floral patterns. Thus, the hibiscus mutabilis motif in Koryŏ celadon not only reflects the technical and aesthetic developments of 12th-century ceramic production but also attests to the hibiscus as a meaningful component of Koryŏ cultural identity.