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Unified Shilla Period Sculpture (668~935)

After Shilla defeated Koguryo and Paekche and unified the Korean Peninsula, the regional differences between the Three Kingdoms were integrated gradually and, with the assimilation of Tang Chinese elements, a new style unique to Unified Shilla emerged around 700. Examples of the early Unified Shilla period are the Buddhist guardian kings of Sach'eonwangsa and Sokchangsa temples, the Buddhist triad of Kunwi, the stone relief of Buddha in Kahung-ri of Yongju, a group of relief images of Buddhas and bodhisattvas from Yon-gi, and two gold Buddhas from Kuhwang-ri. Each reflects the confusion of the transitional era while still retaining some regional elements. For instance, in the case of the triad of Kunwi, which is similar to the gold Buddhas of Kuhwang-ri except for the facial depiction, traditional abstraction is combined with a new realism. This is seen in the modeling of the shaven head with a prominent usnisa, the solemn face with thick eyelids and elongated ears, and the dignified but rather crouched body which is supported by an angular pedestal.

Realism also became more prevalent in the early eighth century, but as can be seen in the Amitabha and Maitreya images of Kamsansa temple, it is mixed with idealistic elements. The curvilinear lines and the voluminous, elastic bodies of these two images are encountered repeatedly in the Buddhas of Kulbulsa temple, the seated Sakyamuni of Poriam Hermitage, the stone relief of Ch'ilburam Hermitage, and the Buddhist group of Sokkuram Grotto.

Needless to say, the Sokkuram images are the masterpieces of the sculptural art as well as the supreme embodiment of the religious spirituality of the time. The image of the Sakyamuni Buddha in the rotunda of the grotto is testament to the genius of Korean sculpture, with its superb rendering of the round face, long brows, a perfect nose and ethereal smile, and the magnificent, lifelike body clothed in a thin robe that falls in shallow folds.

These idealized and realistic features of plastic forms and sensual resiliency disappeared gradually after Sokkuram Grotto. This tendency is best shown in the newly discovered stone Vairocana Buddha of Songnamsa temple, Mt. Chirisan dated 766. By 800 there emerged a neo-realistic style which emphasized a solemness of facial expression and human proportions. Buddhas of this period are characterized by a subdued expression and a lack of vitality in lines and form. This style is most evident in the stone relief of Mt. Pangosan, which was made in 835, and the triad of Yunchigok Valley of Mt. Namsan, Kyongju, which was made in 801. A number of Vairocana and Bhaisajyaguru Buddhas were made in the mid-ninth century in many temples throughout the country, including Tonghwasa, Porimsa, Top'iansa, Ch'uksosa, Pusoksa and Popchusa. All are variations of this style. In the later years, there appeared a tendency to exaggerate the upper part of the body. Buddhas of magnificent proportion were also made occasionally.

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