9.2 Buddhist painting and illuminated sutras

Buddhist painting in Goryeo Korea blended spiritual devotion with artistic mastery. Intricate details, vibrant colors, and gold leaf embellishments characterized these works, reflecting the prosperity and religious fervor of the era.

Illuminated sutras served as both sacred texts and art objects, embodying meritorious acts. Elaborate frontispieces, gold and silver ink on indigo-dyed paper, and refined calligraphy showcased the integration of literary and visual arts in Buddhist practice.

Goryeo Buddhist Painting Iconography

Distinctive Features and Themes

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  The Paradise of Amitabha Buddha, China, probably 8th centu… | Flickr View original

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  Avalokiteshvara | Dr. Hans-Günter Wagner | Flickr View original

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  Detail - Chenrezig thangka, Avalokiteshvara, Bodhisattva o… | Flickr View original

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• Goryeo Buddhist painting characterized by intricate detail, vibrant colors, and gold leaf embellishments reflecting prosperity and spiritual devotion of Goryeo dynasty (918-1392)
• Water-Moon Avalokiteshvara (Suwol Gwaneum) prominent iconographic theme depicting bodhisattva of compassion seated in relaxed pose on rocky outcrop
• Amitabha Buddha, Buddha of Infinite Light, frequently portrayed surrounded by bodhisattvas and celestial beings in elaborate paradise scenes
• Distinctive style developed portraying Buddhist deities with elongated faces, almond-shaped eyes, and graceful, flowing robes
• Mandala paintings representing Buddhist cosmos featured complex geometric patterns and symmetrical arrangements of deities
  • Examples: Vajradhatu Mandala, Garbhadhatu Mandala

Artistic Techniques and Influences

• Gold pigment and intricate line work reflected influence of esoteric Buddhism and emphasis on visualization practices in meditation
• Use of mineral pigments (azurite, malachite) enhanced vibrancy and longevity of colors
• Layering techniques created depth and luminosity in paintings
• Incorporation of textile patterns and architectural elements added richness to compositions
• Influence of Tang dynasty (618-907) painting styles evident in fluid brushwork and dynamic figure poses

Illuminated Sutras in Goryeo Buddhism

Religious and Artistic Significance

• Illuminated sutras served as sacred texts and works of art, embodying fusion of spiritual devotion and artistic mastery
• Production considered meritorious act believed to accumulate good karma for patron and artisans involved in creation
• Featured elaborate frontispieces depicting Buddhist deities or scenes from Buddha's life serving as visual aids for meditation and contemplation
• Use of gold and silver ink on indigo-dyed mulberry paper hallmark of Goryeo illuminated sutras reflecting high status and reverence
• Calligraphy highly refined with distinct styles developed for different types of Buddhist texts showcasing integration of literary and visual arts
  • Examples: Regular script (kaishu) for main text, running script (xingshu) for commentaries

Role in Buddhist Practice and Knowledge Transmission

• Creation of complete Tripitaka (Buddhist canon) sets in illuminated form demonstrated Goryeo dynasty's commitment to preserving and propagating Buddhist teachings
• Played crucial role in transmission of Buddhist knowledge and iconography serving as models for painters and religious practitioners
• Used in ritual recitations and public readings enhancing spiritual experiences of devotees
• Illuminated sutras often commissioned for specific temples or monasteries strengthening ties between patrons and religious institutions
• Served as diplomatic gifts fostering cultural exchange with neighboring kingdoms (Song China, Japan)

Buddhist Art and Goryeo Society

Royal Patronage and Political Legitimacy

• Goryeo royal court actively patronized Buddhist art legitimizing rule and demonstrating spiritual authority
• Buddhist temples and monasteries served as centers of artistic production fostering specialized workshops for painting, sculpture, and manuscript illumination
• Monumental Buddhist art projects such as carving of Tripitaka Koreana reflected mobilization of resources and labor under royal patronage
• Iconography of certain Buddhist deities (Vairocana Buddha) closely associated with concept of divine kingship reinforcing political authority of Goryeo rulers
• Decline of royal patronage towards end of Goryeo period reflected shifting political and ideological currents including rising influence of Neo-Confucianism

Social Dynamics and Cultural Impact

• Social elites and wealthy merchants commissioned Buddhist artworks as acts of devotion and displays of status contributing to flourishing of Buddhist art
• Buddhist art served as unifying cultural force in Goryeo society transcending class boundaries and providing shared visual language for spiritual expression
• Women played significant role in patronage of Buddhist art reflecting their social and economic influence in Goryeo society
• Buddhist art workshops provided opportunities for social mobility and artistic training for talented individuals from diverse backgrounds
• Circulation of Buddhist artworks and texts facilitated cultural exchange between urban centers and rural areas

Goryeo Painting: Chinese and Central Asian Influences

Adaptation of Chinese Styles

• Goryeo artists adapted and transformed Chinese Song dynasty (960-1279) Buddhist painting styles particularly in depiction of drapery and use of fine line techniques
• Influence of Liao (907-1125) and Jin (1115-1234) dynasty art from northern China evident in facial features and bodily proportions of Buddhist figures
• Iconography of certain bodhisattvas (Ksitigarbha, Dizang) shows assimilation of Chinese Buddhist traditions into Goryeo artistic repertoire
• Goryeo artists developed own interpretations of Chinese motifs creating distinctive Korean style characterized by greater delicacy and refinement
  • Examples: More graceful figure proportions, softer color palette

Central Asian and Esoteric Elements

• Central Asian artistic elements transmitted through Silk Road seen in use of vibrant colors and ornate decorative patterns
• Influence of esoteric Buddhist traditions from Tang China (618-907) and Central Asian antecedents reflected in complex iconography and mandala designs
• Incorporation of Central Asian-inspired textile patterns and jewelry designs in depictions of bodhisattvas and heavenly beings
• Adoption of specific iconographic elements (mudras, attributes) from Central Asian Buddhist traditions enriched Goryeo Buddhist visual vocabulary
• Exchange of Buddhist art and ideas between Goryeo and neighboring regions facilitated by diplomatic missions, Buddhist pilgrimages, and circulation of religious texts and images