|
|
|
|
|
|
|
Korean Sculpture
- Main Page
Korea's Main Page
Koguryo Period Sculpture (37 B.C.~A.D. 668)
Buddhist images were brought into the country when Buddhism was first introduced to Koguryo in 372. It is believed that not until several decades later did Korean artisans begin to make Buddhist images. Although there is no tangible proof, it is quite plausible that Koguryo was the earliest of the Three Kingdoms to make Buddhist images, as it was the first to be exposed to the religion. The construction of temples such as Ch'omunsa and Ibullansa three years after Buddhism reached Koguryo supports this assumption. Murals in tombs and many historic records also indicate that Buddhism greatly influenced the culture of Koguryo.
Nevertheless, no Buddhist images made by Koreans have been found that date before 500. A gilt-bronze image of a seated Buddha of the fourth or fifth century was recently discovered in Ttuksom in Seoul, which was part either of the Paekche or Koguryo Kingdom, but it is also believed to be a Chinese import, as its style is strongly suggestive of the Northern Wei sculpture. If proven to be a Korean imitation of a Chinese Buddha, it would be the earliest example of a Korean-made Buddhist sculpture. As it is, the earliest Koguryo Buddhas or indeed the earliest Korean Buddhas-with definitive inscriptions of date appear only after the sixth century.
The rugged terrain and the harsh climate of Koguryo's vast territory are reflected in its arts, which were heavily influenced by the temperamental and vital style of the Northern Wei bordering the kingdom on its continental side. The geometric quality of the Northern Wei art which accompanied the introduction of Buddhism, produced a straightforward style. It is not easy to define the style of Koguryo Buddhas from the few extant diminutive gilt-bronze or clay figurines. Nevertheless, assuming these to be representative of the general sculptural trends of the time, a number of identifying characteristics can be drawn.
The Koguryo Buddhas have lean elongated faces, prominent usuisas (a protuberance on top of the head symbolic of the marks of Buddha) on mostly shaven heads, rigid cylindrical bodies draped by thick robes that have "fish-tail" folds at the hem on both sides, and hands that are disproportionately large. The boat-shaped nimbuses encircle not only the heads but also most of the length of the bodies and are decorated with crude but meticulously depicted flames. The pedestals, which are cylindrical, are finished with lotus petals carved with a masculine feel.
Embodying all the characteristics is the Tongsa Buddha. A gilt bronze standing Buddha with the inscription "Yongga seventh year," which corresponds, to 539, it was made at Tongsa temple in P'yongyang and was found in 1967 in Hach'non-ri, Kyongsangnam-do province. The archaic smile of its elongated face, the rigid body draped in a thick robe and the hem of the robe that is pointed like feathers at the sides, all work together to produce a spiritual quality.
Another giltbronze Buddhist triad with the inscription "Kyemi year" as its casting date, which corresponds to 563, was uncovered in Seoul. It also shows the same characteristics. However, a relaxing of the tension and rigidity is seen in a triad bearing the inscription "Shinmyo year," or 571. Though basically of the style influenced by Northern Wei, as illustrated by the symmetrical folds of its thick robe, a slight change in modeling is apparent in the fullness of its face and the much softer rendering of the hems of the robe that fluctuate in an M-shape.
This is probably attributable to the influences of Eastern and Western Wei or even the early Northern Qi or Zhou which resulted in a new style very much Koguryo's own. A number of clay Buddhas of the same style found in Wono-ri, P'yong-annam-do province (North Korea) are believed to have been made in the mid-sixth century, though they are without inscribed dates. As Koguryo's artisans improved and Buddhism became firmly established, sculpture experienced many stylistic changes and a truly Koguryo style developed around 560.
Information provided by the Korean Embassy