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| {{Multiple issues |
{{Multiple issues|orphan =February 2009|refimprove =May 2008}} | ||
| The '''Korean influence on Japanese culture''' refers to the cultural influence of the ] upon ]. As |
The '''Korean influence on Japanese culture''' refers to the cultural influence of the ] upon ]. As Korea was the cultural bridge between ] and the continent of Asia through much of history, {{Reference necessary|it is inevitable and well-documented that at various times this influence would be felt in various aspects of Japanese culture. This influence was reflected most notably in the introduction of ] to Japan from China via the Korean Peninsula, but it can also be seen in ] and ], ranging from the ] and palaces to various smaller objects such as statues and pottery.|date=June 2011}} | ||
| == Religion == | == Religion == | ||
| In 552, King ] 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 the "]s".<ref> |
During the ] of Japan, scholars and monks from the Korean kingdom of ] served both as teachers and as advisers to Japan's rulers.<ref name="Kodansha encyclopedia of Japan">Kodansha encyclopedia of Japan. ], 1983</ref> In 552, King ] 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 the "]s".<ref>Jon Carter Covell 1986, pp. 44-45</ref> After the initial entrance of some craftsmen, scholars, and artisans from Baekje, ] requested Korean men who were skilled in divination, calendar making, medicine and literature.<ref>Jon Carter Covell 1986, p. 46.</ref> During the 6th century, ] went to great lengths to promote Buddhism in Japan with the help of the ], ], and ] kingdoms of ancient Korea.<ref>Jon Carter Covell 1986, p. 47.</ref> | ||
| == |
== Art == | ||
| During the Asuka Period, the artisans from ] provided technological and aesthetic guidance in the Japanese architecture and arts.<ref name="Kodansha encyclopedia of Japan"/> Therefore, the temple plans, architectural forms, and iconography were strongly influenced directly by examples in the ancient Korea.<ref>Donald F. McCallum. The Four Great Temples: Buddhist Archaeology, Architecture, and Icons of Seventh-Century Japan. University of Hawai'i Press, 2009</ref><ref>Neeraj Gautam. Buddha his life and teaching. Mahaveer & Sons, 2009</ref> In deed, many of the Japanese temples at that time were crafted in the Baekje style.<ref>Donald William Mitchell. Buddhism: introducing the Buddhist experience. Oxford University Press, 2008</ref> Japanese nobility, wishing to take advantage of culture from across the sea, {{Reference necessary|imported artists and artisans from the Korean Peninsula (most, but not all, from Baekje) to build and decorate their first palaces and temples.|date=June 2011}} | |||
| === |
=== Architecture === | ||
| The oldest Japanese Buddhist temple, ], constructed by workmen from the ancient Korean kingdom of Baekje in 588, was modeled upon the layout and architecture of Baekje.<ref>Herbert E. Plutschow. Historical Nara: with illustrations and guide maps. Japan Times, 1983</ref><ref>Kakichi Suzuki. Early Buddhist architecture in Japan. Kodansha International, 1980</ref> And one of the early great temples in Japan, such as the ] Temple was based on types from the ancient Korea.<ref>Asoke Kumar Bhattacharyya. Indian contribution to the development of Far Eastern Buddhist iconography. K.P. Bagchi & Co., 2002</ref><ref>Louis Frédéric. Japan Encyclopedia. Harvard University Press, 2002</ref> | |||
| In 601, ] 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 ]. |
In 601, ] 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 ]. He employed a number of skilled craftsmen, monks, and designers from ] for this project.<ref>Mizuno, Seiichi. Asuka Buddhist Art: Hōryū-ji. Weatherhill, 1974. New York; Nishi and Hozumi Kazuo. What is Japanese Architecture? Shokokusha Publishing Company, 1983. Tokyo</ref> {{Reference necessary|The temple became his personal devotional center where he studied with ], a Buddhist priest ] from ]; it 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.|date=June 2011}} | ||
| The first Horyu-ji burned to the ground in 670. It was rebuilt, and although it is thought to be smaller than the original temple, Horyu-ji today is much the same in design as the one originally built by Shotoku. Again, the temple was |
The first Horyu-ji burned to the ground in 670. It was rebuilt, and although it is thought to be smaller than the original temple, Horyu-ji today is much the same in design as the one originally built by Shotoku. Again, the temple was rebuilt by artists and artisans from Baekje<ref name="az"> A to Z Photo Dictionary of Japanese Buddhist Statuary. a."The temple was also rebuilt by artists and artisans from Paekche."; b."The wooden pagoda at Horyu-ji as well as the Golden Hall are thought to be masterpieces of seventh-century Paekche architecture."</ref>, {{Reference necessary|which had since fallen to ]; many craftsmen, artisans, and scholars from Baekje|date=June 2011}} 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.<ref name="az"/> Two other temples, ] and ], were also probably built by artisans of Korea’s Baekje kingdom.<ref> A to Z Photo Dictionary of Japanese Buddhist Statuary. "Two other temples closely associated with Prince Shōtoku -- Hōrin-ji 法輪寺 or 法琳寺 and Hōkiji 法起寺 -- were most likely built by artisans of Korea’s Paekche kingdom."</ref> | ||
| == |
=== Sculptures === | ||
| ⚫ | One of the most famous of all Buddhist sculptures from the ] found in Japan today is the "]" which, when translated, means "] ]."<ref>] {{quote|''the Chinese characters for Baekje (百済) are read Kudara in Japanese.''}}</ref> This wooden statue was either brought from Korean Baekje or carved by a Korean immigrant sculptor from Baekje.<ref>Peter C. Swann. The art of Japan, from the Jōmon to the Tokugawa period. Crown Publishers, 1966 </ref><ref>Ananda W. P. Gurugé. Buddhism, the religion and its culture. M. Seshachalam, 1975</ref><ref>Jane Portal. Korea: art and archaeology. British Museum, 2000</ref> It formerly stood as the central figure in the Golden Hall at the Horyu-ji. {{Reference necessary|1=It was moved to a glass case in the Treasure Museum after a fire destroyed part of the Golden Hall in 1949.|date=April 2010}} "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."<ref name="proper">Jon Carter Covell 1986, p. 58.</ref> 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).<ref name="Jon Carter Covell 1986">Jon Carter Covell 1986</ref> 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 ] designs seen in fifth-century Korean crowns.<ref name="proper"/> {{Reference necessary|1=Guanyin's bronze bracelets and those of the ] at the Golden Hall also show signs of similar openwork metal techniques.|date=April 2010}} | ||
| ⚫ | More examples of Korea's influence were noted in the ], whose reporter writes when looking at Japan's national treasures like the Miroku sculpture preserved at ] Temple; "''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 name="NYT 2003">]</ref> and ''"The obvious upshot of the show's detective work is to establish that certain classic "Japanese" pieces are actually "Korean".''<ref name="NYT 2003"/> | ||
| The bronze statue of ] at ] Temple was predominantly made by ].<ref name="The Association">College Art Association of America. Conference. Abstracts of papers delivered in art history sessions: Annual meeting. The Association, 1998</ref> The Great Buddha project was supervised by a Korean Baekje craftsman, Gongmaryeo (or Kimimaro in Japanese) and had many Silla craftsmen from Korea working from the beginning of the project.<ref name="The Association"/> The enormous statue of ] was finally cast, despite great difficulty by virtue of the skill of imported craftsmen from Silla in 752.<ref>Richard D. McBride. Domesticating the Dharma: Buddhist Cults and the Hwaŏm Synthesis in Silla Korea. University of Hawaii Press, 2008</ref> | |||
| === Painting === | |||
| ⚫ | Facing slavery and persecution as ] took a stronger hold during the ] 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.<ref>Jon Carter Covell 1986, p. 99.</ref> | ||
| ⚫ | 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 ] of ] also arrived on the same vessel as Yi Su-mun.<ref>Jon Carter Covell 1986, p. 100.</ref> | ||
| == Technology == | |||
| === Iron ware === | |||
| Iron processing and sword making techniques in ancient Japan can be traced back to Korea. | Iron processing and sword making techniques in ancient Japan can be traced back to Korea. | ||
| "Early, as well as current Japanese official history cover up much of this evidence. For example, there is an iron sword in the Shrine of the Puyo Rock Deity in Asuka, Japan which is the third most important historical Shinto shrine. This sword which is inaccessible to the public has a Korean Shamanstic shape and is inscribed with Chinese characters of gold, which include a date corresponding to 369 A.D. At the time, only the most educated elite in the Paekche Kingdom knew this style of Chinese writing"<ref name=" |
"Early, as well as current Japanese official history cover up much of this evidence. For example, there is an iron sword in the Shrine of the Puyo Rock Deity in Asuka, Japan which is the third most important historical Shinto shrine. This sword which is inaccessible to the public has a Korean Shamanstic shape and is inscribed with Chinese characters of gold, which include a date corresponding to 369 A.D. At the time, only the most educated elite in the Paekche Kingdom knew this style of Chinese writing"<ref name="Jon Carter Covell 1986"/> | ||
| ⚫ | "Inariyama sword, as well as some other swords discovered in Japan, utilized the Korean 'Idu' system of writing." The swords "originated in Paekche and that the kings named in their inscriptions represent Paekche kings rather than Japanese kings." The techniques for making these swords were the same styles from Korea.<ref name="Jon Carter Covell 1986"/><ref>Harmon, R. B.(2007)</ref> | ||
| ⚫ | === Pottery and porcelain === | ||
| ⚫ | "Inariyama sword, as well as some other swords discovered in Japan, utilized the Korean 'Idu' system of writing." The swords "originated in Paekche and that the kings named in their inscriptions represent Paekche kings rather than Japanese kings." The techniques for making these swords were the same styles from Korea.<ref |
||
| ⚫ | {{Reference necessary|1=The pottery of the ] culture (300? bc-ad 250?), made by a people who possibly came to ] via the Korean Peninsula,|date=April 2010}} 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. | ||
| In the 17th century CE, Koreans brought the art of ] to Japan.<ref>Emmanuel Cooper, 10,000 Years of Pottery, 2010, University of Pennsylvania Press, p.79</ref> Korean potters also established the ], ], ], ], ], ] and Yatsushiro kilns in Japan.<ref> News - Washington Oriental Ceramic Group (WOCG) : Newsletter {{quote|''In Japan Korean potters were given land and soon created new, advanced kilns in Kyushu -- Karatsu, Satsuma, Hagi, Takatori, Agano and Yatsushiro.''}}</ref><ref name="The Metropolitan Museum of Art">] {{quote|''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.''}}</ref> | |||
| ⚫ | == Pottery == | ||
| ⚫ | {{Reference necessary|1=The pottery of the ] culture (300? bc-ad 250?), made by a people who possibly came to ] via the Korean Peninsula,|date=April 2010}} 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 === | ==== Satsuma ware ==== | ||
| {{See also|Satsuma ware}} | {{See also|Satsuma ware}} | ||
| It is documented that during ] (1592–1598) Japanese forces abducted a number of Korean craftsmen and artisans, among them a disputed number of potters. Some sources claim only a few,<ref>], blog post</ref> others claim many more.<ref |
It is documented that during ] (1592–1598) Japanese forces abducted a number of Korean craftsmen and artisans, among them a disputed number of potters. Some sources claim only a few,<ref>], blog post</ref> others claim many more.<ref name="The Metropolitan Museum of Art"/> 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 produced Satsuma ware.<ref>], paragraph 1</ref> | ||
| == |
=== Shipbuilding === | ||
| The ancient Japanese learned ] techniques under the direction of Korean engineers from the kingdom of ].<ref>Dorothy Perkins. Japanese history and culture, from abacus to zori. Facts on File, 1991</ref><ref>Nihon Yunesuko Kokunai Iinkai. Japan: its land, people and culture. Print. Bureau, Ministry of Finance, 1964</ref> An immigrant group, 'The Inabe', closely associated with shipbuilding, was made up of carpenters who had come to Japan from Silla.<ref name="Shōtoku">Michael Como. Shōtoku: Ethnicity, Ritual, and Violence in the Japanese Buddhist Tradition. Oxford University Press, 2008</ref><ref>Michael Como. Weaving and Binding: Immigrant Gods and Female Immortals in Ancient Japan. University of Hawaii Press, 2009</ref><ref>], Kenzō Tange, Noboru Kawazoe. Ise, prototype of Japanese architecture. M.I.T. Press, 1965</ref> In the 9th century, conditions of sea travel from Japan to ] of China improved because the relations with ] were now such that Japanese could take advantage of Korean ships, which were better built and better handled than their own. The Japanese recognized the superiority of Korean shipbuilding, as we know of Fujiwara no Tsunetsugu (藤原常嗣)’s choice and also from orders sent in 839 by the Court instructing ] to bulild a ''Silla ship'' to stand up the storms.<ref>George Sansom, Sir George Bailey Sansom. A History of Japan to 1334. Stanford University Press, 1958</ref> | |||
| ⚫ | One of the most famous of all Buddhist sculptures from the ] found in Japan today is the "]" which, when translated, means "] ]."<ref>] {{quote|''the Chinese characters for Baekje (百済) are read Kudara in Japanese.''}}</ref> |
||
| === Fortifications === | |||
| {{Reference necessary|1=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).|date=April 2010}} 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 ] designs seen in fifth-century Korean crowns.<ref name="Korean Impact 2001 p. 58"/> {{Reference necessary|1=Guanyin's bronze bracelets and those of the ] at the Golden Hall also show signs of similar openwork metal techniques.|date=April 2010}} | |||
| Japanese archaeologists refer to Ono Fortress, Ki Fortress, and the rest as ]. Because of their close resemblance to the structures built on the peninsula during the same general period. The resemblance is not coincidental. The individuals credited by Chronicles of Japan for building the fortress were all former subjects of the ancient Korean ] Kingdom.<ref>Bruce Loyd Batten. Gateway to Japan: Hakata in War And Peace, 500-1300. University of Hawaii Press, 2006</ref> Especially throughout ], Japanese appears to have favored Baekje fortification experts from the immigrant kinship groups, putting their superior technical skills to use in fortifying Japan against a possible foreign invasion.<ref name="Shōtoku"/> | |||
| ⚫ | More examples of |
||
| == |
== Music == | ||
| ⚫ | Facing slavery and persecution as ] took a stronger hold during the ] 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. |
||
| In the field of Korean and Japanese music history, it is well known that ancient Korea influenced ancient music of Japan.<ref>Vadime Elisseeff. The Silk Roads: Highways of Culture and Commerce. UNESCO, 2000</ref> ''Komagaku'', literally "music of Korea", refers to the various types of Japanese court music derived from the ] and northern Korean state of ],<ref>Benito Ortolani, Japanese theater in the world. Japan Foundation, 1997</ref> later classified collectively as ''Komagaku''.<ref>Denis Arnold. Oxford Companions Series The New Oxford Companion to Music. Oxford University Press, 1983</ref> It is made up of purely instrumental music with wind- and stringed instruments(became obsolete), and music which is accompanied by mask dance. | |||
| ⚫ | Many famous artists in Japan fall into this category. Yi Su- |
||
| ==Imperial family== | ==Imperial family== | ||
| It has been theorized that the Japanese imperial line has Korean ancestry. |
It has been theorized that the Japanese imperial line has Korean ancestry. As reported in National Geographic, Walter Edwards, professor of Japanese studies at Tenri University in Nara, states that "Blood links between Korea and the Japanese imperial family are documented from the eighth century. Even the current emperor has said that he has Korean ancestry." <ref name=natgeo> Tony McNicol. Japanese Royal Tomb Opened to Scholars for First Time. National Geographic News, 2008</ref> Since 1976, foreign archaeologists have been requesting access to the Gosashi tomb which is supposed to be the resting place of Emperor Jingu, but these requests have been denied.<ref name=natgeo/> In 2008, Japan gave foreign archaeologists limited access to the site, but without allowing any excavation. As National Geographic 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 name=natgeo/> | ||
| == Notes == | == Notes == | ||
| Line 64: | Line 80: | ||
| * {{cite book|title=The Arts of Japan: Late Medieval to Modern|author=Seiroku Noma|editor=(translated by) Glenn T. Webb|location=New York City, New York, U.S.A.|publisher=Kodansha America|year=1966|edition=Paperback, 2003|ref=ArtsOfJapan}} | * {{cite book|title=The Arts of Japan: Late Medieval to Modern|author=Seiroku Noma|editor=(translated by) Glenn T. Webb|location=New York City, New York, U.S.A.|publisher=Kodansha America|year=1966|edition=Paperback, 2003|ref=ArtsOfJapan}} | ||
| * {{cite book|title=Paekchae of Korea and the origin of Yamato Japan|publisher=Seoul Kadura International|author=Hong Wontack|year=1994|ref=PaekcheOfKorea}} | * {{cite book|title=Paekchae of Korea and the origin of Yamato Japan|publisher=Seoul Kadura International|author=Hong Wontack|year=1994|ref=PaekcheOfKorea}} | ||
| * {{cite book|author=Harmon, R. B.|year=2007|title=5,000 years of Korean martial arts: The heritage of the Hermit Kingdom warriors|location=Indianapolis, Indiana, U.S.A.|publisher=Dog Ear|ref=5000Years}} | * {{cite book|author=Harmon, R. B.|year=2007|title=5,000 years of Korean martial arts: The heritage of the Hermit Kingdom warriors|location=Indianapolis, Indiana, U.S.A.|publisher=Dog Ear|ref=5000Years}} | ||
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The Korean influence on Japanese culture refers to the cultural influence of the Korea upon Japanese culture. As Korea was the cultural bridge between Japan and the continent of Asia through much of history,
Religion
During the Asuka Period of Japan, scholars and monks from the Korean kingdom of Baekje served both as teachers and as advisers to Japan's rulers. In 552, King Seong 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 the "Sutras". 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.
Art
During the Asuka Period, the artisans from Baekje provided technological and aesthetic guidance in the Japanese architecture and arts. Therefore, the temple plans, architectural forms, and iconography were strongly influenced directly by examples in the ancient Korea. In deed, many of the Japanese temples at that time were crafted in the Baekje style. Japanese nobility, wishing to take advantage of culture from across the sea,
Architecture
The oldest Japanese Buddhist temple, Asuka-dera, constructed by workmen from the ancient Korean kingdom of Baekje in 588, was modeled upon the layout and architecture of Baekje. And one of the early great temples in Japan, such as the Shitennō-ji Temple was based on types from the ancient Korea. In 601, Prince Shōtoku 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 Hōryū-ji. He employed a number of skilled craftsmen, monks, and designers from Baekje for this project.
The first Horyu-ji burned to the ground in 670. It was rebuilt, and although it is thought to be smaller than the original temple, Horyu-ji today is much the same in design as the one originally built by Shotoku. Again, the temple was rebuilt by artists and artisans 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 probably built by artisans of Korea’s Baekje kingdom.
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 was either brought from Korean Baekje or carved by a Korean immigrant sculptor from Baekje. It formerly stood as the central figure in the Golden Hall at the Horyu-ji. "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." 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.
More examples of Korea's influence were noted in the New York Times, whose reporter writes when looking at Japan's national treasures like the Miroku sculpture preserved at Kōryū-ji Temple; "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".
The bronze statue of Great Buddha at Tōdai-ji Temple was predominantly made by Koreans. The Great Buddha project was supervised by a Korean Baekje craftsman, Gongmaryeo (or Kimimaro in Japanese) and had many Silla craftsmen from Korea working from the beginning of the project. The enormous statue of Vairocana was finally cast, despite great difficulty by virtue of the skill of imported craftsmen from Silla in 752.
Painting
Facing slavery and persecution as neo-Confucianism took a stronger hold during the Joseon 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 Tenshō Shūbun of Shokoku-ji also arrived on the same vessel as Yi Su-mun.
Technology
Iron ware
Iron processing and sword making techniques in ancient Japan can be traced back to Korea. "Early, as well as current Japanese official history cover up much of this evidence. For example, there is an iron sword in the Shrine of the Puyo Rock Deity in Asuka, Japan which is the third most important historical Shinto shrine. This sword which is inaccessible to the public has a Korean Shamanstic shape and is inscribed with Chinese characters of gold, which include a date corresponding to 369 A.D. At the time, only the most educated elite in the Paekche Kingdom knew this style of Chinese writing"
"Inariyama sword, as well as some other swords discovered in Japan, utilized the Korean 'Idu' system of writing." The swords "originated in Paekche and that the kings named in their inscriptions represent Paekche kings rather than Japanese kings." The techniques for making these swords were the same styles from Korea.
Pottery and porcelain
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.
In the 17th century CE, Koreans brought the art of porcelain to Japan. Korean potters also established the Karatsu, Arita, Satsuma, Hagi, Takatori, Agano and Yatsushiro kilns in Japan.
Satsuma ware
See also: Satsuma wareIt is documented that during Hideyoshi's invasions of Korea (1592–1598) Japanese forces abducted a number of Korean craftsmen and artisans, among them a disputed number of potters. Some sources claim only a few, others claim many 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 produced Satsuma ware.
Shipbuilding
The ancient Japanese learned shipbuilding techniques under the direction of Korean engineers from the kingdom of Silla. An immigrant group, 'The Inabe', closely associated with shipbuilding, was made up of carpenters who had come to Japan from Silla. In the 9th century, conditions of sea travel from Japan to Tang dynasty of China improved because the relations with Unified Silla were now such that Japanese could take advantage of Korean ships, which were better built and better handled than their own. The Japanese recognized the superiority of Korean shipbuilding, as we know of Fujiwara no Tsunetsugu (藤原常嗣)’s choice and also from orders sent in 839 by the Court instructing Kyushu to bulild a Silla ship to stand up the storms.
Fortifications
Japanese archaeologists refer to Ono Fortress, Ki Fortress, and the rest as Korean-style fortresses. Because of their close resemblance to the structures built on the peninsula during the same general period. The resemblance is not coincidental. The individuals credited by Chronicles of Japan for building the fortress were all former subjects of the ancient Korean Baekje Kingdom. Especially throughout Tenji period, Japanese appears to have favored Baekje fortification experts from the immigrant kinship groups, putting their superior technical skills to use in fortifying Japan against a possible foreign invasion.
Music
In the field of Korean and Japanese music history, it is well known that ancient Korea influenced ancient music of Japan. Komagaku, literally "music of Korea", refers to the various types of Japanese court music derived from the Three Kingdoms of Korea and northern Korean state of Balhae, later classified collectively as Komagaku. It is made up of purely instrumental music with wind- and stringed instruments(became obsolete), and music which is accompanied by mask dance.
Imperial family
It has been theorized that the Japanese imperial line has Korean ancestry. As reported in National Geographic, Walter Edwards, professor of Japanese studies at Tenri University in Nara, states that "Blood links between Korea and the Japanese imperial family are documented from the eighth century. Even the current emperor has said that he has Korean ancestry." Since 1976, foreign archaeologists have been requesting access to the Gosashi tomb which is supposed to be the resting place of Emperor Jingu, but these requests have been denied. In 2008, Japan gave foreign archaeologists limited access to the site, but without allowing any excavation. As National Geographic 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"
Notes
- ^ Kodansha encyclopedia of Japan. Kodansha, 1983
- Jon Carter Covell 1986, pp. 44-45
- Jon Carter Covell 1986, p. 46.
- Jon Carter Covell 1986, p. 47.
- Donald F. McCallum. The Four Great Temples: Buddhist Archaeology, Architecture, and Icons of Seventh-Century Japan. University of Hawai'i Press, 2009
- Neeraj Gautam. Buddha his life and teaching. Mahaveer & Sons, 2009
- Donald William Mitchell. Buddhism: introducing the Buddhist experience. Oxford University Press, 2008
- Herbert E. Plutschow. Historical Nara: with illustrations and guide maps. Japan Times, 1983
- Kakichi Suzuki. Early Buddhist architecture in Japan. Kodansha International, 1980
- Asoke Kumar Bhattacharyya. Indian contribution to the development of Far Eastern Buddhist iconography. K.P. Bagchi & Co., 2002
- Louis Frédéric. Japan Encyclopedia. Harvard University Press, 2002
- Mizuno, Seiichi. Asuka Buddhist Art: Hōryū-ji. Weatherhill, 1974. New York; Nishi and Hozumi Kazuo. What is Japanese Architecture? Shokokusha Publishing Company, 1983. Tokyo
- ^ A to Z Photo Dictionary of Japanese Buddhist Statuary. a."The temple was also rebuilt by artists and artisans from Paekche."; b."The wooden pagoda at Horyu-ji as well as the Golden Hall are thought to be masterpieces of seventh-century Paekche architecture."
- A to Z Photo Dictionary of Japanese Buddhist Statuary. "Two other temples closely associated with Prince Shōtoku -- Hōrin-ji 法輪寺 or 法琳寺 and Hōkiji 法起寺 -- were most likely built by artisans of Korea’s Paekche kingdom."
- Ampontan - Japan from the inside out.
the Chinese characters for Baekje (百済) are read Kudara in Japanese.
- Peter C. Swann. The art of Japan, from the Jōmon to the Tokugawa period. Crown Publishers, 1966
- Ananda W. P. Gurugé. Buddhism, the religion and its culture. M. Seshachalam, 1975
- Jane Portal. Korea: art and archaeology. British Museum, 2000
- ^ Jon Carter Covell 1986, p. 58.
- ^ Jon Carter Covell 1986
- ^ NYT (2003): Japanese Art
- ^ College Art Association of America. Conference. Abstracts of papers delivered in art history sessions: Annual meeting. The Association, 1998
- Richard D. McBride. Domesticating the Dharma: Buddhist Cults and the Hwaŏm Synthesis in Silla Korea. University of Hawaii Press, 2008
- Jon Carter Covell 1986, p. 99.
- Jon Carter Covell 1986, p. 100.
- Harmon, R. B.(2007)
- Emmanuel Cooper, 10,000 Years of Pottery, 2010, University of Pennsylvania Press, p.79
- News - Washington Oriental Ceramic Group (WOCG) : Newsletter
In Japan Korean potters were given land and soon created new, advanced kilns in Kyushu -- Karatsu, Satsuma, Hagi, Takatori, Agano and Yatsushiro.
- ^ The Met, Muromachi period
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.
- Purple Tigress, blog post
- New York Times (1901), paragraph 1
- Dorothy Perkins. Japanese history and culture, from abacus to zori. Facts on File, 1991
- Nihon Yunesuko Kokunai Iinkai. Japan: its land, people and culture. Print. Bureau, Ministry of Finance, 1964
- ^ Michael Como. Shōtoku: Ethnicity, Ritual, and Violence in the Japanese Buddhist Tradition. Oxford University Press, 2008
- Michael Como. Weaving and Binding: Immigrant Gods and Female Immortals in Ancient Japan. University of Hawaii Press, 2009
- Asahi Shinbunsha, Kenzō Tange, Noboru Kawazoe. Ise, prototype of Japanese architecture. M.I.T. Press, 1965
- George Sansom, Sir George Bailey Sansom. A History of Japan to 1334. Stanford University Press, 1958
- Bruce Loyd Batten. Gateway to Japan: Hakata in War And Peace, 500-1300. University of Hawaii Press, 2006
- Vadime Elisseeff. The Silk Roads: Highways of Culture and Commerce. UNESCO, 2000
- Benito Ortolani, Japanese theater in the world. Japan Foundation, 1997
- Denis Arnold. Oxford Companions Series The New Oxford Companion to Music. Oxford University Press, 1983
- ^ Tony McNicol. Japanese Royal Tomb Opened to Scholars for First Time. National Geographic News, 2008
References
- Purple Tigress (August 11, 2005). "Review: Brighter than Gold - A Japanese Ceramic Tradition Formed by Foreign Aesthetics". BC Culture. Retrieved 2008-01-10.
- Ampontan - Japan from the Inside Out (2009-03-20). "The Buddhist Temple Koreans Built in Japan". Retrieved 2010-02-15.
- "Japan, 1400–1600 A.D." Metropolitan Museum of Art. 2002. Retrieved 2010-02-15.
{{cite web}}: Unknown parameter|month=ignored (help) - "Yayoi Culture (ca. 4th century B.C.–3rd century A.D.)". Metropolitan Museum of Art. Retrieved 2010-02-15.
- "Yayoi Era". Mankato, MN, U.S.A.: E-museum, Minnesota State University. Retrieved 2010-02-15.
- "Japanese History: Jomon, Yayoi, Kofun: Early Japan (until 710)". japan-guide.com. Retrieved 2010-02-15.
- "Kanji". japan-guide.com. Retrieved 2010-02-15.
- "Asia Society - The Collection in Context". Asia Society Museum.
- "Pottery - MSN Encarta". Archived from the original on 2009-10-31.
{{cite web}}: Unknown parameter|deadurl=ignored (|url-status=suggested) (help) - "Japan and Korean Influences". New York Times, The. 1901-07-07. Magazine supplement. (first paragraph only. PDF scan of full article here: )
- Cotter, Holland (2003-04-06). "Japanese Art and Its Korean Secret". New York Times, The. Archived from the original on an unknown date.
{{cite news}}: Check date values in:|archivedate=(help) - McNicol, Tony (2008-04-20). "Japanese Royal Tomb Opened to Scholars for First Time". National Geographic News.
- Chon Ho Chon. "Kitora Tomb Originates in Koguryo Murals". Choson Sinbo. No. 35. Retrieved 2010-02-15.
- Covell, Jon Etta Hastings Carter; Covell, Alan Carter (1986-12-01). Korean Impact on Japanese Culture: Japan's Hidden History (2001 ed.). Elizabeth, New Jersey, U.S.A.: Hollym International Corporation.
- Covell, Jon Etta Hastings Carter; Covell, Alan Carter (1986-12-01). Korean Impact on Japanese Culture: Japan's Hidden History. Elizabeth, New Jersey, U.S.A.: Hollym International Corporation.
- Seiroku Noma (1966). (translated by) Glenn T. Webb (ed.). The Arts of Japan: Late Medieval to Modern (Paperback, 2003 ed.). New York City, New York, U.S.A.: Kodansha America.
- Hong Wontack (1994). Paekchae of Korea and the origin of Yamato Japan. Seoul Kadura International.
- Harmon, R. B. (2007). 5,000 years of Korean martial arts: The heritage of the Hermit Kingdom warriors. Indianapolis, Indiana, U.S.A.: Dog Ear.