Journal of Korean Art and Archaeology Vol.15
2021. 01.
2577-9842
2951-4983
Kim Taesik Professor, Hongik University
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GO TO KONGNPARK.COMGaya, a confederation in Korea's Gyeongsang region, was overshadowed by historical accounts of its rival Silla and remained unacknowledged for centuries. The Samguk Sagi, a key historical text, rarely mentions Gaya. However, archaeological discoveries in the 1970s reevaluated Gaya's significance, highlighting its iron production and pottery culture. Gaya's economy thrived on fishing, agriculture, and trade, especially with Japan. Its downfall was attributed to not prioritizing political centralization and being overshadowed by Silla.
Gaya has long been overlooked in Korean history due to the predominant Three Kingdoms narrative, which focuses on Goguryeo, Baekje, and Silla. Misconceptions about Gaya being under Japanese control have been debunked by archaeological evidence revealing its unique culture. Located in Gyeongsangnam-do Province, Gaya existed from the first century BCE to the seventh century CE. Despite a lack of its own historical records, Chinese, Korean, and Japanese documents provide insights. A significant source, Sanguozhi, highlights relations with neighboring polities. Archaeological finds, predominantly from Gaya tombs, demonstrate the prosperous and intricate cultural exchanges within Gaya. Initially an agricultural society, Gaya developed into a confederation, benefiting from its central role in Northeast Asia's trade, especially in iron. Gaya maintained its uniqueness through internal developments and external influences, including trade with China and Japan, until its eventual incorporation into Silla in the sixth century.
Iron played a pivotal role in Gaya 42562 society, with diverse iron artifacts, particularly armor, unearthed from elite tombs. Gaya's iron armor, consisting of helmets and body armor, dominated Three Kingdoms excavations. Despite its abundance, this does not directly indicate Gaya's military power but provides insight into their technology and societal views. The initial study on Gaya armor faces challenges, but significant research emerged in the 1980s, revealing its considerable significance. Gaya's iron culture facilitated regional exchanges, especially with Japan, advocating its consideration for UNESCO World Heritage due to its historical and technological importance.
Gaya was a Korean polity established after 42 CE, existing for 520 years during the Three Kingdoms era, alongside Silla, Baekje, and Goguryeo. Though fragmented historical records persist, archaeological findings, notably Gaya's pottery, offer insights. Gaya pottery evolved from reddish earthenware to unique grayish-blue stoneware in the 4th century CE, influential in Japan's sue ware culture. The pottery, distinguished by mass production techniques, became burial, ritual items, showcasing regional diversity.
Following the arrival of iron culture in the southern Korean Peninsula, Byeonhan evolved into Gaya, a confederation of polities in the third century CE. These polities, including Geumgwan Gaya, thrived around the Nakdonggang River and engaged in extensive trade across East Asia. Geumgwan Gaya emerged as a central trade hub, fostering exchanges with Chinese dynasties, Korean kingdoms, and Japan. Despite initial dominance, Goguryeo's invasion in 400 CE caused Geumgwan Gaya's decline, shifting power to new Gaya polities like Dae Gaya and Ara Gaya. These polities leveraged trade networks, adopting cultural elements from Baekje and Silla. By the fifth century, Gaya's role shifted from a maritime to a more land-based trade network, with new alliances and trade routes emerging, linking the Nakdonggang River to southern coastal areas. These trade activities facilitated cultural exchanges, contributing to Gaya's resilience amid shifting regional dynamics.
In Buddhism, death is viewed not as an end, but as a transition to another life, with Nirvana being ultimate liberation. Sentient beings cycle through Six Paths of rebirth until Nirvana is attained. Nectar Ritual Paintings, from the Joseon Dynasty, depict the journey of wandering souls, represented by hungry ghosts, toward salvation. These paintings reflect the stages of Water-Land Retreat rituals, aiming to guide souls to paradise. Amid suppression, these rituals symbolized hope and societal order. Hungry ghosts, embodying greed and suffering, are central to these paintings, illustrating both the agony and the transformative journey to salvation. The depiction emphasizes the interconnectedness of suffering and salvation, highlighting the concept that hell and paradise are intertwined, with salvation achieved through mutual causation. The paintings symbolically narrate the progression from one state of existence to another, asserting that life and death are inseparable.
Gilt-bronze Buddhist sculptures involve casting an image in bronze with a gold coating. Produced across Asia since the first century CE, these sculptures reveal production insights beyond stylistic studies. Research, including non-destructive techniques like X-ray fluorescence, enhances understanding of their craftsmanship. Two methods—piece-mold and lost-wax casting—dominate their creation, with ancient Buddhist sculptures featuring copper-tin-lead alloys. National Treasures No. 78 and 83, notable Korean examples, were crafted using lost-wax casting. Despite shared production methods, No. 83 exhibits better technical execution and fewer flaws than No. 78, showcasing advancements in casting techniques.