Roof-end tile with kalavinka design
Korean
Description
Two types of tiles were used in the construction of traditional ceramic roof structures in Korea. One type, called ammaksae, was flat with a slight curve in the cross-section (or side view). It was placed concave side up, directly on top of the roof supports. The other type, called sumaksae, was semicylindrical and placed convex side up to cover the joined edges of the flat ammaksae tiles. When completely in place on a roof, ammaksae tiles alternated with rows of sumaksae. Rain rolled off the curved spine of the sumaksae rows and ran down the gutters formed by the ammaksae tiles. The terminal ends of both the ammaksae and sumaksae rows were capped by roof-end tiles, which were usually decorated and visible on the edge of the eaves. Crescent-shaped roof-end tiles capped the ammaksae row, while round roof-end tiles capped the tiles on a sumaksae row.
The Buddhist lotus, readily adapted into a medallion shape, became the favored motif for decorating roof-end tiles on sumaksae tiles after Korea’s adoption of Buddhism in the fourth century. At first the lotus medallion was simple: the seedpod contained few seeds, the petals were few, and their forms were wide and fleshy. Toward the end of the Three Kingdoms Period, the lotus design became more complex and linear and the petals more narrow and flat. In the Unified Silla Period that followed, other floral medallions were introduced. The lotus often appeared in combination with a bosanghwa (precious visage) motif, a stylized floral pattern that symbolized the sanctity of Buddhism. Thousands of these Unified Silla circular roof-end tiles have been unearthed at the Pond of Geese and Ducks, a manmade water feature that was part of a large-scale pleasure resort in Gyeongju, the Silla capital.
Kalavinka appears in Buddhist sutras as a bird of paradise that has the head of a human and the body of a bird. Said to possess a voice more beautiful and melodious than any other bird, it was worshiped as one who gives comfort and pity to living beings.
During the Unified Silla Period, roof-end tiles with the Kalavinka motif frequently portrayed it in three ways: kneeling in prayer, with its hands folded over its chest; standing on a bed of flower blossoms, a flowering crown atop its head; or leaning forward, its wings spread and arms held high in a gesture of protection.
(Korean Gallery Rotation, Fall 2010)
Fall 2010 Gallery Rotation
Roof-end tile with Kalavinka design
Korea, Unified Silla Period (668–935)
8th–9th century
Earthenware with molded decoration
Loan from YooGeum Museum, LTL2009.7.8
Kalavinka appears in Buddhist sutras as a bird of paradise that has the head of a human and the body of a bird. Said to possess a voice more beautiful and melodious than any other bird, it was worshiped as one who gives comfort and pity to living beings.
During the Unified Silla Period, roof-end tiles with the Kalavinka motif frequently portrayed it in three ways: kneeling in prayer, with its hands folded over its chest; standing on a bed of flower blossoms, a flowering crown atop its head; or leaning forward, its wings spread and arms held high in a gesture of protection.
Subject Matter:
Roof-end tiles like this one cap rows of alternating concave and convex tiles called ammaksae and sumaksae. Roof-end tiles are usually decorated and visible on the edge of the eaves. Crescent-shaped roof-end tiles cap the ammaksae row, while round roof-end tiles like this one cap the tiles on a sumaksae row. When completely in place on a roof, ammaksae tiles alternated with rows of sumaksae. Rain rolled off the curved spine of the sumaksae rows and ran down the gutters formed by the ammaksae tiles.
Roofs made from interlocking ceramic tiles kept cold air, wind, and rain from entering a house. Due to their heavy weight, the structure supporting the roof had to be very strong. Expensive to produce, roof tiles were typically found on the homes of aristocrats and government officials, and on Buddhist and Confucian ceremonial buildings.
The kalavinka is a creature with a human head and the body of a birdthat resides in the Land of Ultimate Bliss. It is said to have a voice more beautiful than any creature, which provides comfort and pity to those in need. This kalavinka, with its wings outstretched, is in a pose of protection.
Physical Description:
This circular, dark gray color tile is characterized by a central circle that contains a creature with a human head and the body of a large bird with multiple wings and two arms. Two of the wings and both arms are outstretched and the right arm is holding a string-beaded object. The border of the central circle is decorated with a series of small diamond shapes. Surrounding this central circle are twelve coupled petals (twenty-four in total) stemming from it. Outside of this is the tile border, a raised band which surrounds the circumference of the tile and contains an inner and outer raised border and numerous small circles raised in low relief in between the borders. A portion of the tile, which includes approximately 5 petals and adjacent tile border is broken off and missing.
This dark gray, high-fired earthenware convex eave-end roof tile is made from fine clay. Depicted in the center of the tile, in low relief, is a Gareungbinga or Kalavinka (Skt. Kalavinka) with two arms spread out. The Kalavinka is an imaginary bird with the head of a human and the body of a bird that resides in the land of ultimate bliss (極樂, Skt. Sukhavati ). On this tile, the Kalavinka is surrounded by a lotus petal design, while the outer rim is decorated with a dense threaded-bead design.
[Korean Collection, University of Michigan Museum of Art (2017) p. 38]
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