The arts of Korea are greatly influenced by Chinese traditions, but they have their own distinctive qualities, such as simplicity, spontaneity, and naturalism. Korean artwork is not focused on intricate details, but rather aims to encompass a sense of wholeness. This apparent lack of attention to detail stems from the open-mindedness of early Korean artists who appreciate nature in its natural state. Ko Yu-sop, a Korean art scholar, describes the distinguishing aspects of Korean art as “technique without technique,” “planning without planning,” “asymmetry,” and “nonchalance.”
During the Three Kingdoms period (BC-AD 668), which was a significant era for Korean art, the Koguryo, Paekche, and Silla kingdoms competed for control over the Korean peninsula. Koguryo’s artistic legacy primarily survives in the form of fresco-like mural paintings that adorn tomb chambers from the 5th and 6th centuries. These vibrant and colorful paintings depict scenes from everyday life, animals, and stylish figures, some of which show influences from Central Asia.
Paekche, on the other hand, had close ties with Japan during the 6th and 7th centuries. The art of Paekche is best known for its gracefully sculpted Buddhist images, many of which have been preserved in Japan. One outstanding example from this period is the painted wood figure of Kudara Kannon in Japan, which might have been brought from Korea or created by one of the numerous Paekche artists working in Japan at that time.
Meanwhile, Silla’s art during the Three Kingdoms period is renowned for its refined metalwork.The monumental tomb mounds encircling Kyongju, the capital of the Silla kingdom, are known for their uniquely Korean ornaments. Among these are gold crowns adorned with numerous jade pendants and gold discs. In AD 668, Silla united the Korean kingdoms, ushering in the Great Silla period (668-918). During this time, impressive granite structures were built, including the Pulgaksa monastery’s pagoda from the mid 8th century and the Sukkalam cave temple, both situated near Kyongju. Inside Sukkalam, there was a colossal stone Buddha statue and intricately carved reliefs displaying Chinese influence. The metalworkers of the Silla period excelled in creating large bronze temple bells that reached heights of up to 13ft. Additionally, the elegant bronze figurines of Buddhist deities, like Maitreya from the 7th century, deserve special mention.
During the Koryo dynasty (918-1392), support from royalties led to the construction of new temples and monasteries, promoting Buddhism. The 13th century Pusoksa’s “Hall of Eternal Life” is a notable example, believed to be Korea’s oldest wooden building that is still standing. While sculpture and stonework declined during this period, aristocratic arts, including precious metalwork, lacquer inlaid with mother of pearl, and ceramics, reached new levels of quality and refinement. Korean artists rapidly transformed porcelain making, introduced from China in the late 11th century, into a distinctly Korean variation called Koryo Celadon. These unique blue-green clay wares are considered some of the most exquisite Asian porcelains ever made. In the 12th century, Koreans invented a technique to incorporate black or white clays into celadon wares, creating intricate patterns of birds, flowers, and clouds.
With the establishment of the Choson dynasty (1392-1910), Buddhism was replaced by Neo-Confucianism with Chinese influences. This led to a decline in Korean art during the early Choson period. The monarchy, which maintained a close relationship with the Ming China court, sought to imitate grand Chinese architecture, as seen in the construction of the Kyongbok Palace in Hanyang. Both court artists and upper-class painters heavily relied on Chinese themes and customs in their paintings. It was only in the 18th century that distinctively Korean styles began to emerge among Choson artists. One of the most famous artists of this period was Chong Son, who departed from traditional Chinese-style landscapes and instead depicted rough Korean scenery, as seen in his painting “The Diamond Mountains.” Another way in which Choson artists deviated from Chinese imitations was through genre painting. An excellent example of this is Yunbook Shin’s “Boating Scene,” which showcases the skillfulness and wit typically associated with Korean art.
Bibliography:
