Korean Art of Sculpting - Report Example

Korean Sculpture Introduction Very Art plays a very significant role in many religions. It often educates in addition to bringing the practitioner to the intended religious goal. In connection to this, sculptures are considered the products of the work of art. Some rocks carvings placed on the riverside cliff, Ban-gudae, as well as Gyeongsangbuk-do are among the oldest sculptures in Korea. The sculptures were made during the Bronze Age because they contained bronze, earthenware as well as clay. Literature Review However, the art of sculpturing only became prominent after the introduction of Buddhism in 372 to Goguryeo. This was when Korea was under the Three Kingdoms period. However, Goguryeo was the first among the Three Kingdoms to craft Buddhist images. During this period, Buddhist images and pagodas were considered the main form of sculptors. Buddhas from Goguryeo were sculpted in a way that they had long faces on the shaven heads, a characteristic that was a presentation of the rough style of that kingdom. Unlike Goguryeo Buddhas, Baekje Buddhas portrayed many human features that were stately (Seth, 2010). Their bodies were also relaxed with a large volume beneath the robe. Early Shilla sculptures, on the other hand, portrayed influences of both Sui and Tang China. They also had round faces as well as realistic robes. From these descriptions of different Buddhas, one can deduce that Buddhism art acts as a central point for meditation. It is the meditation that enhances religious practices. The historical Buddha, who is referred to as Shakymuni (556-483 BCE) is remembered of involving himself in teaching others his philosophies as well as passing on the religion (Lee, 2012). It is his religious work that made Buddhists reconsiders Buddha as a central point for meditation. It is also as a result of his teachings that Buddhists sculptors sculptured him as one of the valuable sculptures. However, the propagation of Buddhism in Korea took place between fourth and sixth centuries when the Indian monks arrived in Korea. It became the national religion of Korea in support of a royal family as well as the aristocracy in the fourth century. However, many challenges are associated with its implementation as a religious practice in Korea. For instance, during its first days in Korea, officials at courts protested against the construction of the monastery. The issue of constructing a monetary also led to the loss of lives (Pak & W, 2003). For instance, it is the call for the construction of the monetary which was against the court officials that led to the death of Ich’adon who had asserted that the practice of Buddhism would aid Korea become prosperous and peaceful. Methodology This section expounds on the method of study that was used as well as the technique used in the collection of data. Data Collection The data collection technique that was employed in this study was document analysis. The method used in data collection was influenced by the objective of the study as well as time available for the study. Different types of literature materials were used in collection of information regarding the Korean Sculpture. Assumption and Limitation of the Study The assumption of the study was that Korean Sculpture has not changed since its introduction. The limitation inherent in the study was that there was a possibility for the Korean sculpture being influenced by other nations’ religious practices. Results and Discussion Buddhism was accepted as a national religion of Korea in the fourth century after the miraculous incident that was associated with the death of Ich’adon. The flowing of the Ich’adon head to the Diamond Mountain as well as the gushing out of milk from the cut made people consider the assertion by Ich’adon that Buddha is protective to be right (Seth, 2010). Additionally, the darkening of the sun, the raining of the wonderful flowers from heaven as well as the violent trembling of the earth made Koreans believe Buddha is what they required. Buddhist sculpture enabled leaders hold their political powers. According to Park and Whitfield, Buddhism as well as its doctrines and teachings were perceived as a vital thing. Most leaders adored it because they believed that it played a very significant role in leadership (Pak & W, 2003). According to the leaders, Buddhism enabled them maintain royal power as well as political hegemony of the rulers in the advancing nations. Thus, “leaders used Buddhism as hoguk pulgyo, Nation-Protecting Buddhism” (Lee, 2012). It is as a result of political and leadership demands that the monasteries were made national institutions with direct support and backing from the palace as well as the aristocracy. The building of the monasteries to other areas apart from the cities in the 19th century was as a result of the acceptance of Buddhist sculpture. According to Pak and Whitfield, the monasteries were first built in the cities so as leaders and autocracies could access them with much ease from their residential areas. However, the continuous adoption of Buddhism as a religious practice in Korea as well as the spread of the Meditation School referred to as Sonjong led to the construction of monasteries in mountain sites which were good for meditation and self-discipline (Lee, 2012). The continuous acceptance of Buddhist sculpture as a religious symbol led to the sculpture of the carved stones images in open places such as the Buddha of Four Directions that was located in Ch’ilbul-am on Namsan (Seth, 2010). It is the Buddha of the Four Directions that led to the introduction of the circumambulation around images. It is the acceptance of Buddhism as a Korean religion that big statues of Buddha were sculptured and put in the worshipping temples. According to Pak and Whitfield, large Buddhist statues that were sculptured in the Koryo and Choson period are still the objects of worship in almost all Korean temples today. Buddhist sculpture played a very significant role in passing Buddhist teachings as well as images from one country to another. According to Pak and Whitfield, the sculpture enhanced the transmission of Buddhist faith as well as it ensured the correct rendering of the iconographic traits. Small Buddhist sculptures were also used as divine protection. This is evidenced by the fact the majority of the small images were kept in private altars and worshiped. The Korean sculptures were made from different materials. This might have been as a result of the availability of materials. However, Pak and Whitfield claim that the variation in material used in the sculpture was an expression of creativity. The Korean sculpture was made from not only granite, but also bronze and gold (Seth, 2010). Additionally, the Korean Buddhist images were made from clay and wood. However, very images made of wood and clay exists because of the used easily perishable materials. According to Pak and Whitfield, the use of different materials also aids in identifying the various stages associated with the making of the Korean sculptures. The growth of confidence in Korean sculptors led to the sculpting of many types of Buddha with different shapes out of different materials. However, majority of them were replicate of foreign images. Some of the Korean sculptures include the Standing Buddha dated 536, Kunsu-ri Bodhisattva, Kunsu-ri Buddha, and Sin-ni Bodhisattva. According to Pak and Whitfield, all Korean Sculptures are crafted with human images (Pak & W, 2003). The modern Korean sculpture is also a product of the early 1960s, and it continues to develop currently. Conclusion In conclusion, the first Korean sculpture was some rock carvings and some clay figurines of both animals and men dating as early as the Neolithic age. However, it is the introduction of Buddhism that brought sculpturing in Korea into existence to the majority of the people. Goguryeo was the earliest among the Three Kingdoms to craft Buddhist images. It was also the first to be exposed to Buddhism religion. The acceptance of Buddhism led to the extensive making of Buddhism images in Korea. The made images were used by both leaders and ordinary people in guiding their daily lives. The materials used in making the Korean sculptures varied significantly because of availability, as well as variation in experience among the sculptors. References Lee, C. (2012). Frommers South Korea. New York: John Wiley & Sons. Pak, Y. & W, R. (2003). Buddhist Sculpture. London: Laurence King Publishing. Seth, M. (2010). A History of Korea: From Antiquity to the Present. New York: Rowman & Littlefield Publishers. Read More