Read pp. 147-155, 163-167, 248-252, 288-306
Unit 5 Discussion: Early Buddhist Arts in Japan and Korea
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Early Japanese and Korean Buddhist arts are heavily dependent on artistic developments in China. While the Silk Road is traditionally thought to have its terminus in Dunhuang, monks, artisans, and merchants traveled through the Korean peninsula to Japan. How did those elements of Chinese architecture and figural representation manifest themselves in Japanese and Korean visual arts?
Horyuji
There are many elements at Horyuji that reflect trends in Chinese Buddhist visual arts from several centuries earlier. What are the influences of Chinese wooden architecture? What style is represented in the painting of the Tamamushi Shrine, and do we see any kind of precedents in China? Can you identify any Chinese characteristics in the sculpture at Horyuji?
Dry Lacquer
Dry lacquer was an important technical development in the arts of Japan. What are the three methods of dry lacquer sculpture? How does this create a different visual effect from wood or bronze sculpture? Why do you think this method used for portrait sculpture? What are the advantages of this type of method?
Seokguram
Buddhist imagery in Korea follows models we have seen before in places like India and China. What style is best represented by the main Buddha image? What characteristics suggest this stylistic link? What can you say about the images that surround the main Buddha image? Do they contribute to the overall reading of the cave site?
Bulgoksa Temple
This temple has been categorized as a Korean National Treasure. Do you see any similarities between this temple architecture and Japan? What are the possible meanings of the two different pagodas? Why is there a painting of the Buddha directly behind the Vairocana Buddha?
