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This paper deals with the artistic relationships between ancient Korea and Japan, mostly during the 6 - 8 centuries. Of many fields to be discussed, Korean connection with Japanese Buddhist sculptures is most emphasized. Examination of early Japanese Buddhist sculptures reveal that the Korean influences can be explained in several categories. One is those which are considered to be brought from Korea, based either on historic record and inscription, or on stylistic characteristics.
The Koryu - ji wooden Maitreya or several gilt bronze statues, among '48 Dedicated Horyu - ji Images'(法隆寺獻納實物 48體佛) belong to this group. Another is those which show strong Korean influences in style but were probably made in Japan on the basis of the material or of other reasons as the case of the Kudara Kannon, which perhaps was made by the first generation of Korean immigrant. Then there is a group which share common features in form and iconography with Korean counterparts but which show Japanese tastes and technique. This group may be represented by the Horyu - ji Sakyamuni Triad which was made by the third generation Korean immigrant, sculptor Tori.
After Silla Unified the Three Kingdoms and Japan entered into the Nara period, Tang played a major role in the development of Buddhist Art. In the latter half of the 7th century, Japan received Tang influence mostly via Korea, but in the eighth century, Tang China, Silla Korea and Nara Japan formed an international style in Buddhist art commonly shared in the nature of Buddhist faith and in the iconography and style of Buddhist imagery. Artistic relationship in applied arts and in paintings are briefly discussed with major objects.
The Koryu - ji wooden Maitreya or several gilt bronze statues, among '48 Dedicated Horyu - ji Images'(法隆寺獻納實物 48體佛) belong to this group. Another is those which show strong Korean influences in style but were probably made in Japan on the basis of the material or of other reasons as the case of the Kudara Kannon, which perhaps was made by the first generation of Korean immigrant. Then there is a group which share common features in form and iconography with Korean counterparts but which show Japanese tastes and technique. This group may be represented by the Horyu - ji Sakyamuni Triad which was made by the third generation Korean immigrant, sculptor Tori.
After Silla Unified the Three Kingdoms and Japan entered into the Nara period, Tang played a major role in the development of Buddhist Art. In the latter half of the 7th century, Japan received Tang influence mostly via Korea, but in the eighth century, Tang China, Silla Korea and Nara Japan formed an international style in Buddhist art commonly shared in the nature of Buddhist faith and in the iconography and style of Buddhist imagery. Artistic relationship in applied arts and in paintings are briefly discussed with major objects.
목차
Ⅰ. 序
Ⅱ. 불교조각
Ⅲ. 공예미술
Ⅳ. 회화미술 교섭
Abstract
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UCI(KEPA) : I410-ECN-0101-2009-911-014535056