| Revision as of 09:31, 8 May 2009 editEcthelion83 (talk | contribs)Extended confirmed users3,552 editsm →Buddhist Sculptures← Previous edit | Revision as of 15:07, 5 June 2009 edit undo青鬼よし (talk | contribs)577 editsNo edit summaryNext edit → | ||
| Line 5: | Line 5: | ||
| Various aspects of Japanese culture reflect influences from the Korean Peninsula. As it was the cultural bridge between Japan and Chinese civilization through much of history, that Korean culture influenced Japanese culture at various times in history is inevitable and well-documented. Among the most noticeable of these influences was the introduction of ] from China via the Korean Peninsula (at the time that Buddhism was introduced to what would eventually become Japan, the Korean Peninsula was divided among the three Korean kingdoms of ], ], and ]). Influence from Korea can also be seen elsewhere in Japan, ranging from the architecture of Buddhist temples and palaces to various smaller objects such as statues and pottery. | Various aspects of Japanese culture reflect influences from the Korean Peninsula. As it was the cultural bridge between Japan and Chinese civilization through much of history, that Korean culture influenced Japanese culture at various times in history is inevitable and well-documented. Among the most noticeable of these influences was the introduction of ] from China via the Korean Peninsula (at the time that Buddhism was introduced to what would eventually become Japan, the Korean Peninsula was divided among the three Korean kingdoms of ], ], and ]). Influence from Korea can also be seen elsewhere in Japan, ranging from the architecture of Buddhist temples and palaces to various smaller objects such as statues and pottery. | ||
| While most mainstream anthropologists and historians would probably readily acknowledge that the Japanese and Korean peoples share closely-linked ethnic, cultural and anthropological histories, a point of contention between nationalist scholars in Japan and Korea rests on which culture came first, and can thus be considered the forebearer of the other. In brief, the Korean assertion is that through a long history of contact, several important Korean innovations in culture and technology were transferred to Japan. Several linguistic theories also make claims based upon the similarities between the languages of the respective cultures. Koreans feel there was a plagiarism of their culture in Buddhism, grammar, iron processing for swords, rice cultivation, rituals/customs, pottery<ref>http://www1.korea-np.co.jp/pk/035th_issue/98032502.htm</ref><ref>http://www2.gol.com/users/hsmr/Content/East%20Asia/Japan/History/roots.html</ref><ref>http://www.metmuseum.org/toah/hd/yayo/hd_yayo.htm</ref><ref>http://www.mnsu.edu/emuseum/prehistory/japan/yayoi/yayoi.html</ref><ref>http://www.japan-guide.com/e/e2131.html</ref><ref>http://www.asiasocietymuseum.com/</ref><ref>http://encarta.msn.com/encyclopedia_761568150_4/Pottery.html</ref><ref>http://www.japan-guide.com/e/e2046.html</ref><ref>http://books.google.com/books?vid=ISBN0824820304&id=dCNioYQ1HfsC&pg=PA84&lpg=PA84&dq=japanese+pottery+sue&sig=hLLMdsk0qfSWbVVTI-_w-5Y1fDs</ref><ref>http://books.google.com/books?vid=ISBN4770029780&id=hhOj8JrLQBMC&pg=PA218&lpg=PA218&q=korean&vq=korean&dq=japanese+pottery+sue&sig=qwA36UHFscvAvtia-F0_-RYycW8#PPA219,M1</ref><ref>http://books.google.com/books?vid=ISBN063121447X&id=UJLtPR_gMtsC&pg=PA51&lpg=PA52&printsec=8&dq=five+kings+of+wa&sig=bcw5yUborLom0K4wfxMayTu6bnc#PPA52,M1</ref><ref>http://books.google.com/books?vid=ISBN0521223520&id=x5mwgfPXK1kC&pg=PA177&lpg=PA176&printsec=8&vq=korean+immigrants&dq=korean+immigrants+in+japan&sig=5_O5oKRedGFlLnYaMhPCc5Kax84</ref> and that Japanese seems to cover up cultural and familial transfers from Korea to Japan.<ref>http://www.asianresearch.org/articles/2350.html</ref> For example the New York times writes when looking at Japans national treasures like the Miroku and Koryuji sculptures; "''It is also a symbol of Japan itself and an embodiment of qualities often used to define Japanese-ness in art: formal simplicity and emotional serenity. To see it was to have an instant Japanese experience. I had mine. As it turns out, though, the Koryuji sculpture isn't Japanese at all. Based on Korean prototypes, it was almost certainly carved in Korea''"<ref>http://www2.kenyon.edu/Depts/Religion/Fac/Adler/Reln275/Jap-Kor-art.htm</ref> and "''The obvious upshot of the show's detective work is to establish that certain classic "Japanese" pieces are actually "Korean."''"<ref>http://www2.kenyon.edu/Depts/Religion/Fac/Adler/Reln275/Jap-Kor-art.htm</ref> | |||
| In addition, in 1976 Japan stopped all foreign archeologist from studying the Gosashi tomb which is suppose to be the resting place of Emperor Jingu. Prior to 1976 foreigners did have access. Recently in 2008, Japan has allowed controlled limited access to foreign archeologists, but the international community still has many unanswered questions. National geographics wrote Japan "''has kept access to the tombs restricted, prompting rumors that officials fear excavation would reveal bloodline links between the "pure" imperial family and Korea''"<ref>http://news.nationalgeographic.com/news/2008/04/080428-ancient-tomb.html</ref><ref>http://www.asianresearch.org/articles/2350.html</ref> Experts still hope Japan will be more forthright in the future and see this limited access as the first step in the right direction.<ref>http://news.nationalgeographic.com/news/2008/04/080428-ancient-tomb.html</ref> | |||
| == Religion == | == Religion == | ||
Revision as of 15:07, 5 June 2009
 | This article's factual accuracy is disputed. Relevant discussion may be found on the talk page. Please help to ensure that disputed statements are reliably sourced. (March 2009) (Learn how and when to remove this message) |
 | This article is an orphan, as no other articles link to it. Please introduce links to this page from related articles; try the Find link tool for suggestions. (February 2009) |
 | The neutrality of this article is disputed. Relevant discussion may be found on the talk page. Please do not remove this message until conditions to do so are met. (June 2008) (Learn how and when to remove this message) |
 | This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Korean influence on Japanese culture" – news · newspapers · books · scholar · JSTOR (May 2008) (Learn how and when to remove this message) |
Various aspects of Japanese culture reflect influences from the Korean Peninsula. As it was the cultural bridge between Japan and Chinese civilization through much of history, that Korean culture influenced Japanese culture at various times in history is inevitable and well-documented. Among the most noticeable of these influences was the introduction of Buddhism from China via the Korean Peninsula (at the time that Buddhism was introduced to what would eventually become Japan, the Korean Peninsula was divided among the three Korean kingdoms of Silla, Baekje, and Goguryeo). Influence from Korea can also be seen elsewhere in Japan, ranging from the architecture of Buddhist temples and palaces to various smaller objects such as statues and pottery.
While most mainstream anthropologists and historians would probably readily acknowledge that the Japanese and Korean peoples share closely-linked ethnic, cultural and anthropological histories, a point of contention between nationalist scholars in Japan and Korea rests on which culture came first, and can thus be considered the forebearer of the other. In brief, the Korean assertion is that through a long history of contact, several important Korean innovations in culture and technology were transferred to Japan. Several linguistic theories also make claims based upon the similarities between the languages of the respective cultures. Koreans feel there was a plagiarism of their culture in Buddhism, grammar, iron processing for swords, rice cultivation, rituals/customs, pottery and that Japanese seems to cover up cultural and familial transfers from Korea to Japan. For example the New York times writes when looking at Japans national treasures like the Miroku and Koryuji sculptures; "It is also a symbol of Japan itself and an embodiment of qualities often used to define Japanese-ness in art: formal simplicity and emotional serenity. To see it was to have an instant Japanese experience. I had mine. As it turns out, though, the Koryuji sculpture isn't Japanese at all. Based on Korean prototypes, it was almost certainly carved in Korea" and "The obvious upshot of the show's detective work is to establish that certain classic "Japanese" pieces are actually "Korean."" In addition, in 1976 Japan stopped all foreign archeologist from studying the Gosashi tomb which is suppose to be the resting place of Emperor Jingu. Prior to 1976 foreigners did have access. Recently in 2008, Japan has allowed controlled limited access to foreign archeologists, but the international community still has many unanswered questions. National geographics wrote Japan "has kept access to the tombs restricted, prompting rumors that officials fear excavation would reveal bloodline links between the "pure" imperial family and Korea" Experts still hope Japan will be more forthright in the future and see this limited access as the first step in the right direction.
Religion
In AD 552, King Syong-Myong of Baekje introduced to Japan a laudatory memorial consisting of the teachings of Buddhism, an image of Shaka Butsu in gold and copper and several volumes of "Sutras".
Over the next century, Baekje became the cultural connection between the isolated island of Japan and the mainland's progressing civilization. After the initial entrance of some craftsmen, scholars, and artisans from Baekje, Emperor Kimmei requested Korean men who were skilled in divination, calendar making, medicine and literature.
During the 6th century, Soga Umako went to great lengths to promote Buddhism in Japan with the help of the Goguryeo, Baekje, and Silla kingdoms of ancient Korea.
Architecture
During the Asuka Period, Japanese architecture was primarily influenced by models from the Korean kingdom of Baekje. Japanese nobility, wishing to take advantage of culture from across the sea, imported artists and artisans from the Korean Peninsula (most, but not all, from Baekje) to build and decorate their first palaces and temples.
Temple Architecture
In 601 AD, Prince Shotoku began the construction of his palace, the first building in Japan to have a tiled roof. Next to it he built his temple, which became known as the Horyu-ji. He employed workers from Baekje for these two projects. The temple became his personal devotional center where he studied with Hye-che, a Buddhist priest from Goguryeo. The temple also housed people who practiced medicine, medical knowledge being another by-product of Buddhism. Next to the temple there were dormitories which housed student-monks and teacher-monks.
The first Horyu-ji burned to the ground in 670 AD. It was rebuilt, and although it is thought to be smaller than the original temple, the Horyu-ji today is much the same in design as the one originally built by Shotoku. The temple was also rebuilt by artists and artisans from Baekje, which had since fallen to Silla; many craftsmen, artisans, and scholars from Baekje fled to Japan when it fell. The wooden pagoda at Horyu-ji, as well as the Golden Hall, are thought to be masterpieces of seventh-century Baekje architecture. Two other temples, Hokki-ji and Horin-ji, were also possibly built by Baekje workmen.
Pottery
The pottery of the Yayoi culture (300? bc-ad 250?), made by a people who possibly came to Kyūshū via the Korean Peninsula, has been found throughout Japan. Two basic kiln types — both still in use — were employed in Japan by this time. The bank, or climbing, kiln, of Korean origin, is built into the slope of a mountain, with as many as 20 chambers; firing can take up to two weeks. In the updraft, or bottle, kiln, a wood fire at the mouth of a covered trench fires the pots, which are in a circular-walled chamber at the end of the fire trench; the top is covered except for a hole to let the smoke escape.
Satsuma ware
It is documented during Hideyoshi's invasions of Korea during the years 1592-8 that Japanese forces abducted a number of Korean craftsmen and artisans, among them a varying number of potters. Some sources claim only a few, others claim much more. Regardless of the number, it is undisputed that at least some Korean potters were forcibly taken to Japan from Korea during the invasions, and that it is the descendants of these potters who were producing Satsuma ware.
Sculptures
Buddhist Sculptures
One of the most famous of all Buddhist sculptures from the Asuka period found in Japan today is the "Kudara Kannon" which, when translated, means "Baekje Guanyin." This wooden statue formerly stood as the central figure in the Golden Hall at the Horyu-ji. It was removed to a glass case in the Treasure Museum after a fire destroyed part of the Golden Hall in 1949.
"This tall, slender, graceful figure made from camphor wood is reflective of the most genteel state in the Three Kingdoms period. From the openwork crown to the lotus pedestal design, the statue marks the superior workmanship of 7th century Paekche artists." (Carter and Covell 58)
The first and foremost clue that clearly indicates Baekje handiwork is the crown's design, which shows the characteristic honeysuckle-lotus pattern found in artifacts buried in the tomb of King Munyong of Baekje (reigned 501-523). The number of protrusions from the petals is identical, and the coiling of the vines appears to be the same. Crowns of a nearly identical type remain in Korea, executed in both gilt bronze and granite. The crown's pendants indicate a carryover from shamanist designs seen in fifth-century Korean crowns.(Carter and Covell 58)
Guanyin's bronze bracelets and those of the Four Heavenly Kings at the Golden Hall also show signs of similar openwork metal techniques.
Painting
15th Century Ink Painting
Facing slavery and persecution as neo-Confucianism took a stronger hold during the Yi Dynasty in Korea, many Buddhist-sympathetic artists began migrating to Japan in the 15th century. Once in Japan, they continued to use their Buddhist names instead of their birth (given) names, which eventually led to their origins being largely forgotten. These artists eventually married native women and raised children who were oblivious to their historical origins.
Many famous artists in Japan fall into this category. Yi Su-Mun, who left for Japan in 1424 to escape persecution of Buddhists, painted the famous "Catching a Catfish with a Gourd". The famous Shubun of Shokoku-ji also arrived on the same vessel as Yi Su-Mun.
Notes
- http://www1.korea-np.co.jp/pk/035th_issue/98032502.htm
- http://www2.gol.com/users/hsmr/Content/East%20Asia/Japan/History/roots.html
- http://www.metmuseum.org/toah/hd/yayo/hd_yayo.htm
- http://www.mnsu.edu/emuseum/prehistory/japan/yayoi/yayoi.html
- http://www.japan-guide.com/e/e2131.html
- http://www.asiasocietymuseum.com/
- http://encarta.msn.com/encyclopedia_761568150_4/Pottery.html
- http://www.japan-guide.com/e/e2046.html
- http://books.google.com/books?vid=ISBN0824820304&id=dCNioYQ1HfsC&pg=PA84&lpg=PA84&dq=japanese+pottery+sue&sig=hLLMdsk0qfSWbVVTI-_w-5Y1fDs
- http://books.google.com/books?vid=ISBN4770029780&id=hhOj8JrLQBMC&pg=PA218&lpg=PA218&q=korean&vq=korean&dq=japanese+pottery+sue&sig=qwA36UHFscvAvtia-F0_-RYycW8#PPA219,M1
- http://books.google.com/books?vid=ISBN063121447X&id=UJLtPR_gMtsC&pg=PA51&lpg=PA52&printsec=8&dq=five+kings+of+wa&sig=bcw5yUborLom0K4wfxMayTu6bnc#PPA52,M1
- http://books.google.com/books?vid=ISBN0521223520&id=x5mwgfPXK1kC&pg=PA177&lpg=PA176&printsec=8&vq=korean+immigrants&dq=korean+immigrants+in+japan&sig=5_O5oKRedGFlLnYaMhPCc5Kax84
- http://www.asianresearch.org/articles/2350.html
- http://www2.kenyon.edu/Depts/Religion/Fac/Adler/Reln275/Jap-Kor-art.htm
- http://www2.kenyon.edu/Depts/Religion/Fac/Adler/Reln275/Jap-Kor-art.htm
- http://news.nationalgeographic.com/news/2008/04/080428-ancient-tomb.html
- http://www.asianresearch.org/articles/2350.html
- http://news.nationalgeographic.com/news/2008/04/080428-ancient-tomb.html
- Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 44-45.
- Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 46.
- Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 47.
- Purple Tigress (August 11, 2005). "Review: Brighter than Gold - A Japanese Ceramic Tradition Formed by Foreign Aesthetics". BC Culture. Retrieved 2008-01-10.
- "Muromachi period, 1392-1573". Metropolitan Museum of Art. 2002. Retrieved 2008-01-10.
1596 Toyotomi Hideyoshi invades Korea for the second time. In addition to brutal killing and widespread destruction, large numbers of Korean craftsmen are abducted and transported to Japan. Skillful Korean potters play a crucial role in establishing such new pottery types as Satsuma, Arita, and Hagi ware in Japan. The invasion ends with the sudden death of Hideyoshi.
{{cite web}}: Cite has empty unknown parameter:|1=(help); Unknown parameter|month=ignored (help) - The New York Times. "Japan and Korean Influences." first published July 7, 1901. http://query.nytimes.com/gst/abstract.html?res=9A05E0D91139E733A25754C0A9619C946097D6CF and http://query.nytimes.com/mem/archive-free/pdf?res=9A05E0D91139E733A25754C0A9619C946097D6CF.
- Ampontan - Japan from the inside out. "The Buddhist temple Koreans built in Japan." March 20, 2009. "the Chinese characters for Baekche (百済) are read Kudara in Japanese." http://ampontan.wordpress.com/2009/03/20/the-buddhist-temple-koreans-built-in-japan/
- Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 99.
- Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 100.