韩国江华岛广城堡，13世纪高丽时代为防止蒙古入侵而建
朝鲜半岛尽管疆域狭小，但至少从三国时代（公元前57-公元668年）起便积极参与国际贸易与政治活动。10世纪以后，东北亚的舞台上活跃着宋、辽、金、西夏、高丽等政权，风云暗涌，斗争激烈，它们都直接或间接地与伊斯兰世界有着频繁接触，使得当时的国际关系网变得更加多元、广阔。
Despite its small size, Korea was actively involved in international trade and diplomacy from at least the Three Kingdom period (57 BCE-668 CE) onwards. This network became even more diverse and wide-ranging from the 10th century onwards, when East Asia was beset by fierce competition among equally powerful states: the Song, Liao, Jin, Xixia and Goryeo, all of which were in constant contact, directly or indirectly, with the Islamic world.
高足铜杯
帖木儿帝国，14世纪下半叶
高16.8厘米，直径14厘米
大都会博物馆藏（91.1.559）
高丽晚期高丽王成为蒙元皇室的驸马，强烈追逐蒙元帝国风尚，因此穆斯林的影响和地位变得尤为突出。在这一社会急剧转变时期，穆斯林官员如来自中亚或阿拉伯的张舜龙（公元1255-1297年），具有维吾尔族血统的偰逊（1360年去世）进入高丽后逐渐被同化并永久定居于朝鲜半岛。
The influence and consequence of the Muslim presence must have become more predominant in the later Goryeo period, as Goryeo kings became sons-in-law of the Mongol Yuan royal family and brought their cosmopolitan style with them. In this time of precipitous social change, Muslim officials, such as Jang Soon-ryong (1255-97) from Central Asia or Arabia and Seol Seon (d. 1360) of Uyghur descent arrived in Korea, where they eventually naturalized and settled permanently.
青铜银入丝蒲柳水禽纹净瓶
高丽，公元12/13世纪
韩国国立中央博物馆藏
（图片采自《美成在久》，第11期，第57页，图2-1）
这些发现拓展了先前有关伊斯兰教在中国传播之外进入朝鲜半岛的认识。尽管颇具挑战性，但通过考察高丽晚期至李氏朝鲜早期的装饰艺术，仍有可能在朝鲜半岛的历史中追寻到伊斯兰文化因素的踪影。
Such findings expand the previously understood spread of Islam beyond China and into the Korean peninsula. Although challenging, it is possible to retrace Islamic presence in Korean history by investigating the decorative arts of the late Goryeo/ early Joseon period.
螺钿漆唐草文菱花形盘
李氏朝鲜时代 (1392–1910年)
长44.1厘米，宽30.5厘米
大都会博物馆藏
高丽晚期艺术品在保持东亚传统造型的同时，出现了对器物进行全覆盖式装饰的潮流。虽然9世纪早期统一新罗（公元668-935年）时代就已开始制作装饰几何纹的陶瓷器，高丽晚期的艺术品却见证了艺术表现前所未有的大扩散。其中最明显的特点是青铜器和镶嵌青瓷器上叶纹装饰的频见性。东亚艺术中，植物花纹边框或器物表面上满饰的波浪状植物纹样通常被称作“唐草纹”，从名称推测此纹样起源于唐代。
Late Goryeo period artefacts display a tendency for all-over decoration, while retaining conventional East Asian forms. Objects covered in geometric designs were already being produced in the early 9th century potteries of Unified Silla (668-935), but what is unique to Goryeo artefacts is the previously unseen proliferation of artistic expression. One of the most evident traits is the frequency of foliate decoration on bronzes and inlaid celadon wares. In East Asian art, a rinceau leaf border or decoration of the entire surface of an object with undulating vegetal motif is commonly known as the ‘Tang scroll pattern’, suggesting the origin of this motif in China’s Tang dynasty.
——摘自《美成在久》第11期，54-63页。
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