the Yuan dynasty. The Korean celadon had a unique glaze known as "king-fisher" color, an iron based blue-green glaze created by reducing oxygen in the kiln. Korean celadon displayed organic shapes and free-flowing style, such as pieces that were made to look like fish, melons, and other animals. Koreans invented an inlaid technique known as sanggam, where potters would engrave semi-dried pottery with designs and place materials within the decorations with black or white clay. Joseon dynasty The influence of Confucianism superseded that of Buddhism in this period. However, Buddhist elements remained. Buddhist art did not decline, but continued and was encouraged, but not by the imperial centres of art, or the accepted taste of the Joseon dynasty publicly. However, in private homes and in the summer palaces of the Joseon dynasty kings, the simplicity of Buddhist art was given great appreciationbut it was not seen as citified art. While the Joseon dynasty began under military auspices, Goreyo styles were let to evolve, and Buddhist iconography (bamboo, orchid, plum and chrysanthemum; and the familiar knotted goodluck symbols) were still a part of genre paintings. Neither colours nor forms had any real change, and rulers stood aside from edicts on art. Ming ideals and imported techniques continued in early dynasty idealized works. Mid-dynasty painting styles moved towards increased realism. A national painting style of landscapes called "true view" beganmoving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered. While not photographic, the style was academic enough to become established and supported as a standardized style in Korean painting. The mid- to late-Joseon dynasty is considered the golden age of Korean painting. It coincides with the shock of the collapse of Ming dynasty links with the Manchu emperors accession in China, and the forcing of Korean artists to build new artistic models based on nationalism and an inner search for particular Korean subjects. At this time China ceased to have pre-eminent influence, Korean art took its own course, and became increasingly distinctive. New genres of Korean painting flourished, such as chaekgeori (paintings of books) and munjado (paintings of letters), revealing the infatuation with books and learning in Korean culture. Korean folk art, called minhwa, also emerged during this time. Other visual arts Korean art is characterized by transitions in the main religions at the time: early Korean shamanist art, then Korean Buddhist art and Korean Confucian art,