The tradition of inlay is particularly important in Korea and can be found not only in mother-of-pearl inlaid lacquer but also in fine quality ceramic production and metalwork. A highly complicated procedure, it requires that the artist have a deep understanding of the materials and the many skills needed to design, cut, and inlay. To produce a mother-of-pearl inlaid box, the craftsman applies a thick layer of organic lacquer to seal the box core and protect it from humidity and corrosion. Next, layers of mother-of-pearl - the thin translucent shell of abalone - are applied to form the design. A final layer of lacquer is used to finish the surface and then the shell is polished to bring out the brilliant iridescent color. A fine example of pictorial design, this box is decorated with a rectangular cartouche that features blossoming plum branches and a pair of birds, surrounded by a continuous floral pattern. During the middle Joseon period, painterly designs such as birds and flowers, bamboo, and grapevines first began to appear on lacquer. As mother-of-pearl designs became larger in size, artists developed new techniques that were more effective. For example, an artisan, after first cutting a design, then crushed the shell before applying the pieces to the lacquer, which was a much more effective method that eventually influenced Japanese lacquer production. Hyonjeong Kim, Associate Curator, Chinese and Korean Art, (2008)