National Museum of Korea

The National Museum of Korea is the flagship museum of Korean history and art in South Korea and is the cultural organization that represents Korea.

The museum is divided into three floors. Symbolically, the left of the museum is supposed to represent the past, while the right side of the museum represents the future.

Ten-Story Pagoda. Ten-story Stone Pagoda of Gyeongcheonsa Temple. Dimensions H. 1,350.0cm. Goryeo Dynasty. Provenance Gyeonggi-do. This massive ten-story pagoda is the first one known to be made from marble. It once stood on the grounds of Gyeongcheonsa Temple, located at the foot of Mt. Buso in Gwangdeok-myeon, Gaepung-gun, Gyeonggi-do Province. This pagoda is also extraordinary in terms of its form, which is much more complex than most other pagodas. Its shape is very unusual, with a three-tier base, a complex polygonal shape for the lower part (from the first to the third tier), and a square upper part. The base and the main body are elaborately decorated with carvings of Buddhas, bodhisattvas, and floral designs, and there is an inscription engraved on the body of the first story, stating that the pagoda was built in 1348 (4th year of Goryeo King Chungmok). See more at Gyeongcheonsa Pagoda - Wikipedia.

Stele for Great Master Wollang. Stele for Master Wollang at Wolgwangsa Temple Site, Jecheon. Dimensions H. 395.0cm. Unified Silla Period. Provenance Jecheon-si. This stele records the life of Master Wollang (816-883) of the late Unified Silla Period, who became a Buddhist monk (Bhikkhu) in 845 by receiving the Buddhist commandments, and then went on a pilgrimage to China (Tang Dynasty). Upon his return to Korea, he was invited to Wolgwangsa Temple in Jecheon, Chuncheongbuk-do. This stele was erected at Wolgwangsa Temple in 890 (4th year of Queen Jinseong), seven years after his death. King Heongang ordered Kim Yeong to write the inscription, and a monk named Sunmong then transcribed Kim’s inscription in the regular script of the Chinese calligrapher Ouyang Xun (557-641). The body of the stele rests on top of a turtle-shaped pedestal, and is topped with an ornamental capstone in the form of a dragon-serpent. This is a representative example of a stele from the golden era of stele production, with a style and structure that was very popular during the Unified Silla Period and Goryeo Dynasty.

Celadon Kundika. Celadon Kundika with inlaid chrysanthemum and peony design. Dimensions H. 33.9cm. Goryeo Dynasty. This elegant kundika boasts a balanced form and refined design. A scrollwork design has been applied to the top and bottom of a round band at even intervals, and lotus petal designs overlap below its neck. Three layers of inlaid peony and chrysanthemum designs crisscross the body from the top, leaving considerable empty space.

Gilt-bronze Seated Bodhisattva. Gilt-bronze Seated Bodhisattva. Dimensions H. 74.7cm. Late Goryeo to Early Joseon Period. It is a bodhisattva with a gentle expression that seems to be thinking. His hair was pulled up high like a topcoat and then draped back down a few strands to the sides of his ears. The chest, belly, and legs were adorned with ornate ornaments, and the hands were bent with the thumb finger and the middle finger, respectively, to express the desire for the salvation of sentient beings. After casting in copper, a black coat was applied to the surface to coat it well. In Buddhism, a bodhisattva is a person who is on the path towards bodhi ('awakening') or Buddhahood. See more at Bodhisattva - Wikipedia.

Celadon Incense Burner. Celadon incense burner with girin decoration. Dimensions H. 17.6cm. Goryeo Dynasty. Lidded celadon incense burners from the Goryeo Dynasty commonly feature a lid decorated with some form of animal symbols. The animals depicted include actual ones like mandarin ducks, lions, and other kinds of ducks, or imaginary creatures such as a fish-dragon or tortoise-dragon. In this case, an ornament in the shape of a girin, a fictional creature, is placed on top of the lid. According to Gaoli tujing (Illustrated Account of Goryeo), an incense burner with an animal-shaped lid was used to burn incense at official palace rites.

Phoenix Throne. The Phoenix Throne (eojwa) is the term used to identify the throne of the hereditary monarchs of Korea. The phoenix motif symbolizes the king's supreme authority. The phoenix has a long association with Korean royalty. See more at Phoenix Throne - Wikipedia.

Cloud dragon pattern bottle. Height 28.3cm. Joseon 19th century In the 19th century, the blue color technique, in which blue and white pigments were filled in the outside of the pattern, appeared. The dragon pattern bottle has eyes and mouth. The dragon, with a characteristic elongated face filled with dots, a yeouiju, and a cloud were drawn on the surface, and the background of the pattern was filled with blue pigment to add splendor and decorativeness.

Large Hanging Scroll from Janggoksa Temple. Janggoksa Gwaebul was painted in 1673 with the donations and support of 83 monks and believers. In the center of the canvas measuring 5.99m wide and 8.69m long, there is a main Buddha holding a lotus branch wearing a luxurious robe, and several figures are arranged neatly on the left and right. It is said that five monks and painters, painted it in hopes of the longevity of the king, queen, and crown prince. At the bottom of the screen, it is written that it is a hanging banner for the Yeongsan Daehoe held in the yard of Daeungjeon Hall of Janggoksa Temple in Chilgapsan Mountain, east of Cheongyang in May in the 12th year of Kanghui (1673).

Tejaprabha Buddha with the Big Dipper. Painting of the Spirits of the Seven Stars. Joseon Dynasty. Dimensions 188.0 x 187.0cm (Hanging scroll painting). This work characteristically illustrates the features of the Seven Stars in which Buddhism and Taoism coalesce into one. At the center of the painting are the Brilliant Abundant Buddha, the central figure of this painting in Buddhism, and the Emperor of Purple Thinness, the Buddha's counterpart in Taoism, both symbolizing the North Star. With the Abundant Brilliant Buddha on the top tier accompanied by the Seven Buddhas, representing the Seven Stars, and the Emperor of Purple Tenuity flanked by the Seven Celestial Officials, the Taoist equivalents of the Seven Buddhas, the painting depicts the fused worlds of Buddhism and Taoism in one picture. The border of the painting is decorated with patterns of auspicious fruits like pomegranate and peach – an interesting combination with the fact that this is a Buddhist painting meant to wish for longevity.

Vairocana Buddha. Stone Seated Vairocana Buddha. Dimensions H. 280.0cm. Unified Silla Period. This stone seated Vairocana Buddha, complete with pedestal and mandorla, is a typical Buddhist statue of the late Unified Silla period. It is presumed to have been discovered in the Gyeongsang Province area, given that the low cranial protuberance, conch-shaped hair, well-defined face, shape of the pedestal and mandorla, are all similar to those on other Buddhist statues found at Cheongnyongsa Temple in Yecheon, Ganwolsa Temple in Ulsan, and Bulgoksa Temple in Changwon.

Buddha. Buddha. Dimensions H. 281.8cm. Goryeo Dynasty. Provenance Gwangju-gun. At 2.88 meters in height and weighing 6.2 tons, this massive statue is the largest iron Buddha ever found in Korea. It was discovered at a temple site in Hasachang-dong, Hanam-si, Gyeonggi-do Province in 1911. An archaeological survey of the temple site carried out following the 1945 liberation from Japanese colonial rule revealed that the statue was made during the Goryeo Dynasty (918-1392). There are still fragments at the temple site of the stone pedestal on which the enormous image was placed. This Buddha is making the same earth-touching mudra as the famous Buddha in the Seokguram Grotto sanctuary in Gyeongju. However, this one possesses an unnaturally slim waist and abstracted details. Traces of hardened varnish are visible on the knees, indicating that the sculpture was originally covered with a thick coat of varnish and pasted over with gold. The nose and both hands were repaired in a later period.

Bhaisajyaguru Buddha or Medicine Buddha. Stone Seated Bhaisajyaguru Buddha. Dimensions H. 109.0cm. Unified Silla Period. This stone seated Bhaisajyaguru Buddha holds a medicine casket in the left hand. It was found in Mt. Namsan, Gyeongju, and moved to Seoul in 1915. It has a low cranial protuberance on the conch-shaped hair, and a “white tuft of hair” between the eyebrows. The robe hangs over both shoulders, draping down between the knees. The right hand rests on the right lap, with the fingers facing downwards. It is presumed to have been made sometime between the late 8th and early 9th centuries, judging by the expression of the details of the knees and the pedestal.

Maitreya Bodhisattva. Stone Maitreya Bodhisattva from Gamsansa Temple. Dimensions H. 270.0cm. Unified Silla Period. Provenance Gyeongsangbuk-do. At the end of the 7th century, the three kingdoms of Silla, Baekje and Goguryeo were unified by Silla, starting the Unified Silla Period (676-935). This era was marked by relative social stability and material wealth, which allowed Korean Buddhism - and Korean Buddhist art in particular - to reach its zenith. In 1915, this statue of Maitreya was moved from the site of the Gamsansa Temple in Gyeongju, which was once the capital of Silla. The carving is made of granite and exhibits highly advanced carving skills. Granite is a very hard stone that must be carved with a hammer and chisel, so creating fine detail was (and still is) an arduous and difficult process. But this Buddhist statue features realistic details and elaborate ornamentation, demonstrating the advanced skills of Silla stone carvers. The Maitreya, with a warm facial expression, is slightly bent at the waist. According to the inscriptions on the back, the statue was begun in 719 by an official of the unified government of Silla named Kim Ji-seong. He wished to make the Maitreya Bodhisattva in memory of his mother, who had passed away. However, the following year he died suddenly before completing his work; the statue was then completed in memory of him and that his soul might rest.

Amitabha Buddha. Stone Amitabha Buddha from Gamsansa Temple. Dimensions H. 275.0cm. Unified Silla Period. Provenance Gyeongsangbuk-do. In 1915, this statue of Amitabha was moved from the site of the Gamsansa Temple in Gyeongju, which was once the capital of Silla. The Amitabha has a stern look and a very erect posture. According to the inscriptions on the back, the statue was begun in 719 by an official of the unified government of Silla named Kim Ji-seong. He wanted to make Amitabha Buddha for his father, who had passed away. However, the following year he died suddenly before completing his work; the statue was then completed in memory of him and that his soul might rest.

Wooden Seated Buddha. Wooden Seated Buddha. Dimensions H. 94.0cm. Joseon Dynasty. This large statue of a cross-legged Buddha features a slightly bent forward body, and a head and upper body that are disproportionately larger than the lower body. The Buddha is dressed in a dharma robe draped across both shoulders, and forms a symbolic hand gesture made by touching the tips of his thumb and middle finger. The statue also signs that the arms were made separately before being fixed into the body; and it has a hole on its back with a matching plug which was used to store secret offerings to Buddha.

Vairocana Buddha. Iron Vairocana Buddha. Dimensions H. 112.1cm. Goryeo Dynasty. Vairocana Buddha is the embodiment and visualization of beop, translated as the truth and ideal of Buddhism. This Vairocana Buddha statue displays the jigwonin mudra in which the left index finger is gripped in the right hand near the chest. In terms of the bodily proportions, this example resembles the Buddhist statues of the Unified Silla period but its accentuated facial features reflect the style of the Goryeo Dynasty. The drapery is quite simple and is expressed as a series of ascendant layers, almost like steps. The folds in the cloth underneath the crossed legs are highly formalized, like a fan. Iron Buddha statues were produced beginning in the late Unified Silla period and were popular during the Goryeo Dynasty. Horizontal and vertical mold lines can still be seen on the statue, particularly across the chest.

Mudras of the Nine Grades of Amitabha Buddha. These mudras represente how Amitabha Buddha saves devotees, dividing them into nine grades according to their religious capacity. A Buddha image can have one of several common mudras, combined with different asanas. See more at Mudra - Wikipedia.

Gilt-bronze Amitabha Buddha Triad. Gilt-bronze Amitabha Buddha Triad. Dimensions H. 69.1cm. Goryeo Dynasty. When not depicted alone, Amitabha is often portrayed with two assistant bodhisattvas, usually Avalokitesvara on the right and Mahasthamaprapta on the left. This iconography is known as an Amitabha triad, and is especially common in Chinese, Japanese, and Korean art. See more at Amitābha - Wikipedia.

Avalokiteshvara Bodhisattva. Gilt-bronze Seated Avalokitesvara Bodhisattva. Dimensions H. 38.5cm. Goryeo Dynasty. This Avalokitesvara Bodhisattva sporting a multitude of jewels and a resplendent crown is a striking example of the “Cakravartin” posture. The figure is seated with its right knee drawn up and the left resting on the floor. The right arm is extended to drape casually on the right knee, while the left is braced on the floor behind the left leg. Avalokitesvara Bodhisattva sculptures in the Cakravartin posture were very popular during the Song and Yuan Dynasties in China. In Korea, however, such statues are quite rare, although the posture does appear in Buddhist paintings of the late Goryeo and early Joseon Dynasties. This Avalokitesvara is wearing the crown of the Nirmana-Buddha, oversized flower earrings, and a plenitude of jewels and accessories, all reflecting Lamaism, a Tibetan-Mongolian form of Buddhism. Here, however, the sensuousness and excessive ornamentation characteristic of Lamaism are somewhat reduced and restrained. The comparatively moderate and somewhat simplified form demonstrates that foreign styles of Buddhist sculpture were received, interpreted, and developed in ways that were uniquely Korean.

Gandhara Bodhisattva. Gray Schist (rock) Figure of a Bodhisattva. Dimensions H. 115.0cm. India. This bodhisattva statue manifests the characteristics of Buddhist sculpture from Gandhara, which was an important channel of communication between West, South, and Central Asia, and thus was a place where numerous different cultures crossed and mingled. The region was also a major center for early Buddhist art, which spread outward from Gandhara to other parts of Asia. In fact, the first representations of the Buddha in human form come from Gandhara (and the Mathura region). Gandhara Buddhist statues combine elements of Indian, Greek, Roman, and Parthian sculpture. This statue, made from gray schist, has a beautiful face with perfect proportions, displaying the Hellenistic style. The figure’s realism is enhanced by the curly hair and thin layer of clothing, allowing the natural form of the body to be seen.

Gandhara Maitreya Bodhisattva. Maitreya Bodhisattva. Gandhara. Gandhara is the former name of a region in northern Pakistan and eastern Afghanistan, centered around the area that is now the valley of Peshawar. As a key hub of communication between West, South, and Central Asia, Gandhara was a place where many cultures crossed and mingled, as reflected in “Gandhara art,” a term that refers specifically to the art produced in this region from the first through the fifth century. Gandharan images of Maitreya Bodhisattva are usually distinguished by a large topknot with two loops, and a water bottle held in the left hand. The left hand is broken on this bodhisattva statue, but the double forelock is clearly visible. The image features many of the characteristic details of Gandharan Buddhist sculpture, such as sharp facial features, fluid drapery of the clothing, and a realistic treatment of ornaments and accessories.

Tang tomb figures. Sancai Porcelain Auspicious Animals. Dimensions H.79.0, 69.5. Tang Dynasty. Four tomb guardians were standard in rich tombs, typically one at each corner: a pair each of "earth spirits" or zhenmushou, and the lokapala or zhenmuyong warrior guardians. The figures are typically the largest and most elaborate in a tomb, and must often have been much the most difficult to model and fire. The figures may have been believed to protect the living by keeping the spirits of the dead from inappropriately roaming the world outside the tomb, as well as protecting the tomb from intrusions by robbers or spirits; the earth spirits were apparently associated with the first role, and the lokapala with the second. See more at Tang dynasty tomb figures - Wikipedia.

Japanese armor. Armor with variegated lacing. Edo Period. Japanese armor consists of yoroi for the body and a helmet known as a gabuto for the head. The o-yoroi (great armor) that was used by elite samurai from the Heian (794–1185) to the Kamakura periods (1185–1333) was designed for use by mounted archers. From the Nanboku-chō period, close infantry combat became prevalent and warriors’ armor gradually shifted to domaru or haramaki, which was lighter and easier to wear. With the advancement of weaponry and techniques for large-scale battles, tosei-gusoku, an improved version of domaru, appeared in the late Muromachi period (1333–1573). This is a tosei gusoku armor made by using a single plate for the body part and various colored threads for the kusazuri, pieces covering the waist and thighs.

Japanese Mahavairocana Buddha. Vairocana Buddha as depicted in Korea differs from the Mahavairocana Buddha version in Japan in that the former takes a form of a typical buddha with spiral-shaped curls of hair and a clerical outfit. Mahavairocana Buddha, or Dainichi Nyorai, occupies the focal point of the Mandalas of the Two Worlds, the Womb World (Garbhadhatu) and the Diamond World (Vajradhatu). Rather than presenting a more conventional form of a buddha, the deity in both mandalas is depicted as a bodhisattva with his hair tied in a tall topknot and jewelry. However, Mahavairocana in the Womb World Mandala offers a meditation mudra formed by holding the hands in an oval in front of the belly, whereas Mahavairocana in the Diamond World Mandala makes the wisdomfist mudra by grasping the tip of his raised left forefinger with the right hand. Mahavairocana in the Diamond World Mandala makes the same hand gesture as Vairocana Buddha that became popularly worshipped in Korea from the late Unified Silla period. See more at Mandala of the Two Realms - Wikipedia.

Japanese Amitabha Buddha. This Amitabha Buddha shows a welcoming mudra in which the right hand with the forefinger joined to the thumb is raised to the chest while the left hand with the forefinger touching the thumb is lowered. Amitabha sculptures produced in the Heian period were mostly depicted seated and offered the Amitabha’s meditation mudra. During the Kamakura period, however, standing versions with the welcoming mudra, a hand gesture symbolizing Amitabha welcoming sentient beings to his pure land, became popular under the influence of Chinese Buddhist paintings from the Southern Song dynasty that were being introduced to Japan at the time. It is worth noting that this sculpture bears an inscription reading “An Amida” on the sole of the left foot. ‘An Amida Butsu’ is a Buddhist name of Kaikei (?–before 1227), the canonical Buddhist sculptor of the Kamakura era. Works by Kaikei with signature reading ‘An Admida Butsu,’ including another ninety-centimeter-high standing sculpture of Amitabha showing the welcoming mudra, belong to the so-called ‘Annamiyo’ style.

Japanese Amitabha Buddha. This seated Buddha is shown with an Amitabha’s meditation mudra formed by placing both hands together over the legs folded in lotus position with the palms turned upwards and the tips of the thumbs touching. The simple and shallow drapery folds and gentle facial expression are reminiscent of Amitabha Buddha in the Phoenix Hall of Byodoin Temple. This sculpture was produced using the joined-block technique that assembled separately carved blocks of wood (yosegi-zukuri). The technique was devised to facilitate the mass production of Buddhist sculptures by several Buddhist sculptors through a division of labor. It is believed to have been perfected by the renowned sculptor Jocho.

Bianqing. The bianqing is a traditional Chinese percussion instrument consisting of a set of L-shaped flat stone chimes known as qing, played melodically. The chimes were hung in a wooden frame and struck with a mallet. Along with the bronze bells called bianzhong, they were an important instrument in China's ritual and court music going back to ancient times. The instrument was imported to Vietnam (where it is called bien khanh), and Korea (where it is called pyeongyeong). In the 11th year of King Yejong of Goryeo (1116), it was imported from the Song Dynasty. It is still used in Korean court and ritual music. See more at Bianqing - Wikipedia.

Baekje Gilt-bronze Incense Burner. Baekje Gilt-bronze Incense Burner. Dimensions H. 61.8 cm. Baekje, 6th-7th century. This ornate incense burner was recovered from a temple site in Neungsan-ri, Buyeo. It would once have been placed on a Buddhist altar to offer incense to Buddha. The pedestal is shaped like a dragon with its front legs extended, while the bowl and lid of the incense burner combine to form an enlarged lotus bud, elaborately adorned with mountain peaks, musicians, and sacred animals, with a noble phoenix perched at the top.

Pensive Bodhisattva. Pensive Bodhisattva. Dimensions H. 93.5cm. Three Kingdoms Period. This statue strikes a classic contemplative pose with one leg perched up on the other knee and the fingers of one hand raised against the cheek. This pose derived from the image of the young Indian Prince Siddhartha Gautama contemplating the nature of human life is quite common in Buddhist sculpture. In China, such pensive statues were most widespread in the 5th and 6th centuries, but in Korea they were most frequently produced in the 6th and 7th centuries. This Pensive Bodhisattva statue is 93.5 cm high, making it the tallest of all extant pensive bodhisattvas from the Three Kingdoms period (1st century BCE – 668 CE). Other distinguishing features of this statue include the crown, which is called either a samsangwan (crown with three peaks) or a yeonhwagwan (lotus crown), and the simple yet elegant necklace that the prince wears on his exposed upper torso. This sculpture is widely admired for its benign smile and fine physical proportions, which make it a splendid object of religious worship.

Pensive Bodhisattva. Pensive Bodhisattva. Dimensions H. 83.2cm Three Kingdoms Period. This statue strikes a classic contemplative pose: one leg perched up on the other knee, with fingers raised up against the cheek. This pose is quite common in Buddhist sculpture, and it was derived from the young Indian Prince, Siddhartha Gautama, contemplating the nature of human life. In China, such pensive statues were most common in the 5th and 6th centuries, while in Korea they are usually from the 6th and 7th centuries. This Buddhist statue sports a tall crown decorated with a sun and moon. This type of crown originated in the Sassanid Persian Empire, but it was transmitted east via the Silk Road and was adapted as a crown for bodhisattvas./li> The statue is relatively tall, but the bronze layer is exceptionally thin—as thin as 2 mm—showing that the artisans of the period had developed advanced metal craft techniques. The sophistication of the artistic style and technique is further exemplified by several lifelike details: the benign, delicate smile; the amazingly natural sitting posture; the organic harmony between the body parts; and the dynamic flow of the veil robe and waist rope.

See also

• Bukchon Hanok Village

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Sources

• National Museum of Korea - Wikipedia
• National Museum of Korea - Homepage

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Location