By the fourth century, the Korean peninsula was divided among three kingdoms: Koguryo in the north, Paekche in the southwest, and Silla in the southeast. A fourth political entity, the Kaya Federation, was composed of city-states situated between Silla and Paekche. In each of these city-states, the royalty and the aristocracy created a demand for luxury goods, which were symbols of power and political authority.

Burial sites in the ancient territory of Silla have yielded the largest quantity of such objects, including jewelry and weapons made of

pure gold and other precious materials. The contents of Silla tombs have remained intact due to the relatively impenetrable tomb structure, which was constructed of wood, sealed with clay, and covered with mounds of stones and earth.

The motif of intertwined dragons on the gold hilt with pommel, dating from the fifth to the sixth century, reflects Central Asian and Siberian influences. Silla, due to its relatively isolated location on the southeastern coast, did not have diplomatic contacts with China until the latter part of the sixth century. It therefore preserved Central Asian and Siberian influences in its art, whereas Koguryo and Paekche readily embraced new trends from the mainland.

Reliquaries, which contained relics of the historical Buddha Shakyamuni, were central objects of Buddhist worship and were placed inside pagodas, the focal point of the temple plan.

This exquisitely crafted example was excavated from the base of a pagoda in Songnim-sa Temple. Placed in the center of the reliquary is a green glass cup decorated with twelve rings of coiled glass applied to the surface. Inside the cup is a small green glass bottle, which held the relics of the body of the Buddha, usually represented by tiny crystal-like particles.

The variety of shapes and decorative styles of Buddhist ritual objects attests to the diversity of material culture in the Koryo dynasty, as well as the wealth of the state-sponsored Buddhist establishment.

A superb example of Koryo inlaid metalwork is an incense burner dated 1289, whose chalice shape with a wide, flat rim was popular into the succeeding Choson dynasty (1392~1910). Enclosed within the four foliate panels are dragons and phoenixes, which, though not particular to Buddhism, are auspicious symbols appropriate for such a ritual object.

One decorative technique employed during the Choson period, which allowed colorful and rich representative possibilities, took advantage of the translucent qualities of ox-horn.

The origin of the ox-horn painting (hwagak) technique can be traced back to the Three Kingdoms period, in the fifth century. In this example dated to the nineteenth century, the ox-horn was cut, soaked in water, and boiled, and then pressed into thin flat sheets.