Folding Mirror Stands(鏡架) of the Goryeo Dynasty : Origins and Decorative Techniques

The mirror stand(鏡架), a device designed to suspend or support a mirror, was first introduced to the Korean Peninsula during the Han dynasty period, as mirror stands from that era were imported and began to be utilized domestically. Over time, their forms gradually evolved to suit local lifestyles. Among these developments, the folding mirror stands of the Goryeo dynasty are particularly notable for their distinct structure, characterized by an X-shaped folding leg design, which markedly differs from earlier types. The origins of the Goryeo folding mirror stand can be traced to Chinese prototypes. In China, mirror stands have been found in archaeological contexts and depicted in mural paintings since early periods, displaying a broad range of forms. Notably, wooden mirror stands excavated from the tomb of Princess Shenhua of the Liao dynasty, as well as metal folding mirror stands unearthed from the joint burial of Zhang Shasheng and his wife in Suzhou during the Yuan dynasty, exhibit close formal and structural affinities with those of the Goryeo period. These examples suggest that both China and Korea actively produced folding mirror stands during the 12th to 13th centuries. At present, fourteen folding mirror stands from the Goryeo period are known to exist. All of them are under 60 centimeters in height, indicating that they were likely placed atop a table for use. The base components of these stands are made of iron, with their surfaces elaborately decorated in gold and silver. The hinges are crafted from silver with gilding or from iron. A distinctive characteristic of the Goryeo folding mirror stand is the addition of decorative metal fittings to conceal the joints of the base, which resulted in a more ornate and luxurious appearance unique to the Goryeo aesthetic. These metal mirror stands were richly adorned, especially at the hinges and bases, using two primary metalcraft techniques: embossing(repoussé) and inlay(ipsa; 入絲/象嵌). Artifacts employing both techniques simultaneously were relatively rare, and those from Goryeo demonstrate exceptional craftsmanship through their intricate and sumptuous patterns. The development of these two techniques during the Goryeo period reflects both the inheritance of Unified Silla-era technologies and the selective adaptation of decorative methods from neighboring states such as Song, Liao, and Yuan, leading to a significant advancement in Korean metalcraft. Numerous extant metalcraft works from Goryeo employ embossing and inlay, confirming that these two techniques were representative of Goryeo’s decorative arts. This study, based on an examination of folding mirror stands, analyzes the application of these techniques in Goryeo metalwork and proposes that such artifacts were likely produced in Jangyaseo(匠冶署)—a government-run workshop where highly skilled artisans capable of using both techniques would have gathered.