Journal of Korean Art and Archaeology Vol.4
2010. 01.
2577-9842
2951-4983
INTRODUCE
- GORYEO BUDDHIST PAINTINGS IN THE CONTEXT OF EAST ASIA
- • The overwhelming majority of Goryeo Buddhist paintings have been preserved in temple and museum collections in Japan. Not only have these institutions taken exceptional care of these treasures, but Japanese scholars have been among the first to identify and investigate them. In Korea, where almost no Goryeo Buddhist paintings remained, the subject was virtually unknown until it began to attract scholarly attention in the 1970s, when the Museum Yamato Bunkakan staged the first such exhibition in 1978, curated by Yoshida Hiroshi. At the time Pak Youngsook studied Goryeo painting in Japan, and became the first Korean scholar to write about the subject, receiving her doctorate (soon to be reprinted in Seoul by Jimundang) in 1981 from the University of Heidelberg for her dissertation on the Cult of Kshitigarbha. Ever since there has been a steady stream of scholarly papers. International attention beyond East Asia was focused on the subject in 2003 when Kumja Paik Kim staged the exhibition Goryeo Dynasty: Korea's Age of Enlightenment, 918-1392, at the Asian Art Museum, San Francisco, with a number of important loans, including the enormous Water-Moon Avalokiteshvara from Kagami Jinja, discussed in some of the papers here.
COPYRIGHT & LICENSE
- Roderick Whitfield(Percival David Professor, Emeritus SOAS, University of London)
The fourth volume of the International Journal of Korean Art and Archaeology highlights Goryeo Buddhist paintings, previously underrepresented in national collections despite their significance. It details a major exhibition, "Masterpieces of Goryeo Buddhist Painting," and includes insights from a 2010 conference where four featured papers were first presented. The edition examines the identity and patrons of Goryeo paintings, techniques involved, and their historical care, particularly in Japan. Additionally, it spans topics like the significance of Hangeul metal printing types, the attached-rim pottery culture, and the Central Asian Collection at the National Museum of Korea. This volume concludes with a paper by Beth McKillop on a Joseon royal manuscript, emphasizing the Journal's commitment to diverse scholarly contributions in Korean art and archaeology.
- Chung Woothak(Professor, Dongguk University)
Goryeo Buddhist paintings, unveiled to the public in 1978, are valued for their historical and religious significance. With about 150 known pieces, the prominent themes encompass Amitabha with his attendants, Avalokiteshvara, and Kshitigarbha. These artworks are celebrated for their vibrant use of primary colors, intricate gold detailing, and decorative patterns, which are distinctive to the Goryeo era. Despite limited textual records, these paintings are prized masterpieces of Korean Buddhist art, reflecting the cultural and spiritual aspirations of the Goryeo people.
- Kim Junghee(Professor, Wonkwang University)
During the Goryeo dynasty, Buddhism was the dominant ideology, leading to extensive patronage of Buddhist art by the royal family and aristocracy. Despite only 160 Buddhist paintings from the period surviving, records reveal diverse patrons including royalty, officials, monks, and lay communities. Art was often commissioned for prayers, ceremonies, and to honor the deceased. The shift from aristocratic to local patronage highlights broader societal changes. This era saw a focus on Buddhism for good fortune, reflecting its deep integration into everyday life.
- Park Eunkyung(Professor, DongA University)
Goryeo Buddhist paintings are celebrated for their vibrant colors, sophisticated gold decorations, and consistent iconographies, reflecting royal patronage. These artworks, numbering around 160 surviving pieces, are all painted on silk, mostly utilizing a rib weave structure. This type of silk weave enhances the texture and depth of the paintings. Additionally, the size of these paintings varies, ranging from 40cm to as much as 250cm wide, categorized into five groups. The width of the silk influenced the iconography and composition of the paintings. Larger works were likely managed by the court office Aekjeongguk. Most paintings served as spiritual offerings and are believed to have been commissioned by royalty and the elite for private shrines, but concrete knowledge of their exact original locations remains sparse. However, they may have adorned palace halls, royal shrines, and private temples built by powerful families. While the paintings' style and composition have been a focal point of study, this analysis also considers the potential votive offerings accompanying these artworks and their original settings, exploring the broader cultural and historical context of Goryeo Buddhist art.
- Ide Seinosuke(Professor, Kyushu University)
"Sacred Ningbo: Gateway to 1300 Years of Japanese Buddhism" was a significant exhibition held at the Nara National Museum in 2009. It highlighted the cultural and historical impact of Ningbo, a crucial city in East Asian maritime trade and Buddhism, during the Yuan and Ming periods. The exhibition, which attracted international attention, showcased major Buddhist paintings from the Southern Song. The display method emphasized visual representation, categorizing paintings into three types: visualized, apparition, and summoned images, each reflecting the interplay between the earthly and transcendental worlds. The exhibition aimed to explore how devotional deities were visually represented from the Song to Yuan periods, incorporating social and local history perspectives, thus contributing to art history through new interpretational frameworks.
- Lee Jae-jeong(Associate Curator, National Museum of Korea)
The National Museum of Korea houses a vast collection of metal and wooden printing types, primarily from the Joseon Dynasty. These types, used by the government and royal family, are vital cultural artifacts, showcasing the evolution of print technology in Korea. The museum's collection includes over 400,000 metal types cast in various styles from the 17th to 19th centuries, such as "imjinja" and "jeongnija”. The collection also features rare Hangeul types, essential for translating Chinese texts into Korean. Despite limited production, these types are historically significant, representing Korea's advanced printing culture and their usage in important publications. The museum's assortment, where origins and usage are well-documented, outnumbers similar collections in East Asia, highlighting Korea’s leadership in type-printing development.
- Park Jinil(Associate Curator, National Museum of Korea)
The Bronze Age of Korea saw the rise and fall of numerous pottery types, ending with attached-rim pottery, which featured clay bands on the rims and was associated with various artifacts like long-necked jars and bronze daggers. The Seoul and Gyeonggi region has been a key focus for studying this pottery due to numerous finds in the area, despite initial setbacks in discoveries. Recent excavations there have provided new material for research, although comprehensive reports remain pending. Studies suggest attached-rim pottery originated from migrations around the fourth or fifth century BCE, with evidence indicating it was part of a broader cultural exchange involving the integration of foreign elements. Sites in the region reveal a blend of pottery types over phases, influenced by indigenous and incoming cultures. The culture persisted into the first century CE, as shown by connections to Han mirrors. Compared to regions like Hoseo, the Seoul and Gyeonggi region saw less integration and success in adopting new cultural elements. While many findings come from surveys, ongoing excavations may offer more insights into the cultural history of this region.
- Kim Haewon(Associate Curator, National Museum of Korea)
The National Museum of Korea, located in Seoul, houses over 1,500 Central Asian artifacts from present-day Xinjiang, China. Approximately 150 are displayed in the museum's permanent Central Asian gallery. The collection has a complex history, originating from expeditions led by Tani Kozui, a Japanese Buddhist, between 1902 and 1914. His private efforts aimed to collect Buddhist materials in contrast to European expeditions driven by political ambitions. These artifacts transferred to various museums over time, enduring challenges like war, yet now form a significant part of Korea's cultural heritage.
- McKillop Beth(Deputy Director, Victoria and Albert Museum)
The Gisa jinpyori jinchan uigwe manuscript in the British Library is a comprehensive record of an extravagant ceremony held in 1809 during the late Joseon period, honouring Lady Hyegyeong on her marriage's 60th anniversary. This ceremony reinstated Crown Prince Sado into the royal line, despite his tragic history. The manuscript, likely looted by the French in the 1860s, features lavish art and high-quality material. It reflects typical Joseon period royal archives' record-keeping practices and showcases multiple perspectives through intricate depictions to guide future ceremonial events. This study clarifies the misinterpretation of earlier research, establishing the manuscript's celebration focus on Lady Hyegyeong while highlighting the role of visual documentation in ensuring the adherence of rituals to Confucian ideals within Korea's royal court.