Goryeo Buddhist paintings

“Goryeo Buddhist Paintings” (Korean: 고려; 高麗; Koryŏ) are prominent Korean artworks that are said to have originated in the 13th and 14th centuries. Known for their intricate depiction of Buddhist icons in the form of colossal hanging scrolls, artists made use of vibrant colours and adorned the patterns with gold. Owing to the wide spread following of Buddhism during the Goryeo period, these Buddhist paintings were usually sponsored by the royal families, who used them for ceremonies and funerals.^[1] Illustrations often reflected the messages of Pure Land Buddhism or Amidism featuring Buddhas and Bodhisattvas for instance Avalokiteśvara amongst others, who were worshipped by their devotees to achieve the goal of rebirth in the "Pure Land" or paradise.

As one of the consequences of years of war, the majority of the paintings are no longer found in Korea. The tradition of Goryeo paintings was forgotten for a very long time and regained significance in the recent decades when scholars started studying the techniques and attributes that are commonly seen in these artworks. Currently, numerous of these paintings are preserved by Japanese collectors, who attained them either through trade or as a result of the Japanese colonial period from 1910-1945.^[2] To this day, scholars have been successful in identifying only less than 160 paintings throughout the world.^[3]

Theme[]

At present,133 Goryeo paintings have been found and preserved worldwide and a large percentage, 110 paintings to be specific, have illustrations of the Sukhāvatī  (Korean:서방극락정토; Seobang Geungnak Jeongto) which roughly translates to the ‘Western Heaven’. Pure Land Buddhism is a branch of Mahayana Buddhism enjoys immense popularity in East Asian Countries as the most followed tradition. Some of the most renowned painting depicts ‘Amitābha (Korean :아미타불Amitabul) who is believed to be the “Lord of the Western Paradise” either in alone or often accompanied by Bodhisattva Avalokiteśvara and Mahasthamaprapta which are Sanskrit names of Gwanseuum Bosal (관세음보살) and Daeseji Bosal (대세지 보살) respectively. Amitabul was also featured as surrounded by the Eight Great Bodhisattvas. Bodhisattva Ksitigarbha (Korean:지장보살; Jijang Bosal) was also worshiped and portrayed in several scroll paintings. These paintings also communicated how one can join them in paradise.^[2]

Materials[]

A study of the paintings show that these paintings have been created by trained experts who utilised premium quality paints as well metallic paint including gold and silver. These paintings are characterised by exquisite and minute aspects like facial features, embroidery on the garments and jewellery design amongst other precise details. This group of paintings commonly feature figures wearing delicate garments drawn in a manner that give the illusion of transparency. The durable condition of the surface has been attributed to the use of a thin base-coat of lead which was applied onto the bodies which was followed by the application of exquisite jewels, veils, pendants and medallions along with other materials. Owing to the quality, cost of expensive art material and that these artworks were commissioned by the royals and nobles of the Goryeo society show that there is a very high probability that the masses may not have seen these paintings. The quality of the Goryeo paintings made it affordable to the royal families and the aristocracy.^[2]

Key Paintings[]

Kshitigarbha (first half of the 14th century)[]

A merciful bodhisattva who rescues sentient beings from descending into hell or purgatory, Kshitigarbha (Korean: Jijang) was enormously popular during the Goryeo period. A significant figure in Pure Land Buddhism, Kshitigarbha was often depicted in a single form, as a monk with shaved head, wearing a monk’s robe and holding his standard attributes, a staff and a wish-fulfilling jewel (cintamani). This exquisite scroll is an example of Goryeo Buddhist paintings, which is well-preserved. The deity’s graceful facial features and slender fingers, the red and green colours of the robe, and the sumptuously elegant gold decoration are some of its hallmarks.^[4]

Water-Moon Avalokiteśvara, first half of the 14th century[]

At the Metropolitan Museum of Art, the bodhisattva Avalokiteśvara is depicted in typical Goryeo style as “Water-Moon Avalokiteśvara” who is shown seated on a rocky outcrop protruding from the sea in his mountain-island abode, Mount Potalaka, where water flows from numerous springs and the landscape is populated by fragrant grass and flowers, marvellous trees, and coral. He sits with his right leg crossed and his left foot placed on a lotus-flower support, holding a crystal rosary in his hand, dressed in dazzling robes and sashes, with intricate gold details on his jewellery and clothing.^[1]

Specialty[]

Goryeo Buddhist paintings are well known for their delicate and detailed works and sumptuous execution. They include exquisitely drawn garments created through the ample use of mineral pigments accented with gold, and illusionary effects seen in the depiction of transparent veils. Buddhist paintings were made by applying colour to both the front and back of the silk canvas, creating subtle effects, intensifying and contrasting with the primary colours painted on the front. Gold was mostly used to delineate figures and to accentuate the decorative patterns on robes and jewellery. The body was given an outline with ink, while a thin red line was used for the facial features.

In some paintings, a tiny moon is depicted at the top, from which the name “Water-Moon Avalokiteśvara” is originated. The willow tree motif symbolizes the cleansing and healing power of the deity, and is also closely related to Chinese Buddhist paintings during the Western Xia dynasty (1038-1227), around the same timeline. However, there are also several notable features which are unique to Goryeo artworks.

Goryeo Buddhist paintings often included secular and mythical figures, depicted as worshippers or patrons. They are members belonging to the royalty, aristocrats, or donors of paintings, wearing elegant court dress and elaborate hairdos decorated with jewellery and gold. These depictions allow us a glimpse into the taste for luxury and splendour amongst the ruling class in Goryeo society.

Motifs from indigenous myths, miraculous stories, and folklore before Buddhism were also incorporated in depictions of this deity to highlight his spiritual power. For instance, the blue bird, the dragon king, the rosary, and the pair of bamboo stalks in the Water-Moon Avalokiteśvara are related to stories about the famous Korean monks Ŭisang and Wonhyo and their encounters with Avalokiteśvara. A rabbit pounding the elixir of immortality under a laurel tree in the moonlight is an example of a motif derived from a myth of ancient pre-Buddhist China, which tells of a rabbit (whose image can be seen on the face of the moon) who uses a mortar and pestle to make a life-giving potion for the Moon Goddess.^[1]

Significance/ Cultural impact[]

Very few Korean paintings which were made before the fourteenth century survives today. Buddhist paintings of the Goryeo dynasty are renowned for their delicacy and refinement in styles. The members of the royal family and the aristocracy commissioned most of the paintings during the Goryeo dynasty, which were mostly painted by monk-painters or professional court painters.^[5]

The tradition has only re-emerged from the insignificance of the past few decades as researchers have begun to identify specific visual characteristics that unite the works. These features include delicately painted garments, sodden mineral pigments accented with gold, and illusionary effects such as transparency. Although these similarities are now well-documented, there is still much to discover about the paintings’ artistic methods and its culturally accurate contexts.^[3]

Japanese collectors have especially treasured Goryeo Buddhist paintings for its beauty and refined style and most of them are to be found in Japanese collections today, having been traded there, or cleared out during the Japanese colonial period (1910-1945). The earliest confirmed dating amongst these paintings is of a standing Amitabul ― rather stiff and two-dimensional compared to Goryeo standards ― dated 1286 which is over three hundred years into the dynasty. We can only assume that the unrepresented years were a transitional period in the development of style and iconography, and it may have been the Tibetan-influenced Yuan Kingdom (1271-1368) that introduced the scrolled painting format to the Goryeo Kingdom.^[2]

Conclusion[]

The growing discourses regarding the significant Buddhist paintings from the Goryeo period has resulted in increasing academic interest amongst both the researchers and the common people. In order to provide easy access to the paintings, a website was launched in 2019^[6] Presented by the Freer and Sackler galleries and the Cultural Heritage Administration, the digital catalogue is titled “Goryeo Buddhist Painting: A Closer Look”. Interested viewers can go through this website and gain access to 16 paintings owned by galleries such as, Metropolitan Museum of Art, Asian Art Museum, Freer and Sackler, Harvard University Art Museums, Museum of Fine Arts, Boston, Cleveland Museum of Art, Arthur M. Sackler Museum, Rhode Island School of Design Museum. In addition to this resource, books such as, “Buddhist Paintings of Goryeo” by Moon Myung-Dae also provides detailed description of the paintings along with the background history, stylistic, thematic aspects and commentary on the exquisite use of colours.^[7]

References[]