12.2 Asuka period sculpture and painting
3 min read•august 5, 2024
The Asuka period saw the rise of Buddhist art in Japan, with sculptors like creating masterpieces in . The and statues showcase the period's artistic prowess, blending Chinese and Korean influences with Japanese aesthetics.
Painting flourished too, with the and exemplifying the era's artistic achievements. These works demonstrate advanced techniques like fresco and , revealing the sophistication of early Japanese Buddhist art.
Buddhist Sculpture
Key Sculptors and Materials
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- Tori Busshi, a sculptor from the late 6th century to early 7th century, created some of the most significant Buddhist sculptures of the Asuka period
- Gilt bronze, an alloy of copper with a thin layer of gold, was commonly used for creating Buddhist sculptures during the Asuka period, giving the statues a lustrous and opulent appearance
Notable Sculptures
- Shaka Triad, a gilt bronze sculpture created by Tori Busshi in 623 CE, depicts the historical Buddha (Shaka) flanked by two bodhisattvas, Bhaisajyaguru and Amitabha
- The triad is known for its naturalistic and humanistic portrayal of the Buddha, reflecting the influence of Chinese Northern Wei and Sui dynasty Buddhist art
- The sculpture is housed in the Golden Hall (Kondō) of Hōryū-ji temple in Nara, Japan
- Kudara Kannon, a 7th-century gilt bronze statue of the (Kannon in Japanese), is another notable work of the Asuka period
- The statue, believed to have been brought from the Korean kingdom of Baekje (Kudara in Japanese), exhibits a graceful and elegant pose, with elongated proportions and flowing drapery
- The Kudara Kannon is housed in the Hōryū-ji temple and is considered a masterpiece of early Japanese Buddhist art
- , a almond-shaped aureole or halo surrounding the entire body of a divine figure, is a common feature in Asuka period Buddhist sculptures
- The mandorla symbolizes the divine light and power emanating from the Buddha or bodhisattva
- Examples of sculptures with mandorlas include the Shaka Triad and the Kudara Kannon
Buddhist Painting
Hōryū-ji Murals
- The murals in the Golden Hall (Kondō) of Hōryū-ji temple, dating back to the 7th century, are some of the oldest surviving examples of Buddhist painting in Japan
- The murals depict various Buddhist deities, such as the , , and the ()
- The paintings showcase the influence of Chinese and Korean Buddhist art styles, with vibrant colors, linear outlines, and flattened forms
- The murals were executed using the , where pigments are applied to wet plaster, allowing the colors to become an integral part of the wall surface
- The use of the fresco technique in the Hōryū-ji murals demonstrates the advanced artistic skills and knowledge of the Asuka period painters
Tamamushi Shrine
- The Tamamushi Shrine, a miniature wooden shrine dating back to the 7th century, is another significant example of Asuka period Buddhist painting
- The shrine is named after the iridescent wings of the tamamushi beetle, which were used to decorate the surface of the shrine
- The paintings on the shrine depict Buddhist scenes, such as the Amida Buddha and the Western Paradise, as well as secular themes, like courtly life and architecture
- The Tamamushi Shrine showcases the technique of painting on wood, using a combination of pigments, lacquer, and gold leaf
- The intricate details and the use of perspective in the paintings demonstrate the advanced artistic techniques employed by Asuka period painters
- The shrine is housed in the Hōryū-ji temple and is considered a masterpiece of early Japanese Buddhist art, showcasing the synthesis of Buddhist themes with indigenous Japanese artistic traditions
Key Terms to Review (27)
Amida Buddha: Amida Buddha, also known as Amitābha, is a celestial Buddha in Mahayana Buddhism who embodies infinite light and life. He is revered particularly in Pure Land Buddhism, which emphasizes faith and devotion to him as a means of attaining rebirth in his Pure Land, a realm free from suffering. The representation of Amida Buddha in sculpture and painting often reflects ideals of peace, serenity, and spiritual enlightenment, making him a central figure in various periods of East Asian art.
Bodhisattva Avalokitesvara: Bodhisattva Avalokitesvara is a highly revered figure in Mahayana Buddhism, symbolizing compassion and the ideal of altruistic enlightenment. Often depicted in various forms, Avalokitesvara is believed to embody the compassionate essence of all Buddhas, acting as a savior for sentient beings by hearing their cries for help. The bodhisattva's role and representations reflect important cultural adaptations in different regions, particularly during significant periods such as the Tang dynasty and the Asuka period.
Buddha figures: Buddha figures are artistic representations of Siddhartha Gautama, the founder of Buddhism, often depicted in various postures and gestures that convey specific meanings and teachings. These figures serve not only as objects of worship but also as essential symbols of Buddhist philosophy and enlightenment. The style and form of these figures evolved significantly, particularly during the Asuka period, reflecting cultural exchanges and the development of religious art in Japan.
Buddhism: Buddhism is a spiritual and philosophical tradition founded on the teachings of Siddhartha Gautama, known as the Buddha, emphasizing the path to enlightenment through practices such as meditation, ethical conduct, and mindfulness. It spread across East Asia, influencing various cultural regions and artistic expressions, including sculpture, painting, and decorative arts.
Chinese Influence: Chinese influence refers to the impact and spread of Chinese cultural, artistic, and architectural practices across East Asia, particularly as a result of trade, migration, and the introduction of Buddhism. This influence is evident in various forms of architecture and art, shaping religious spaces and visual representations in neighboring regions.
Four Heavenly Kings: The Four Heavenly Kings are protective deities in East Asian Buddhism, specifically associated with the guardianship of the cardinal directions and the protection of Buddhist teachings. These figures are often depicted in art and sculpture, serving as guardians at temple entrances or as part of larger religious narratives, symbolizing the safeguarding of Dharma and moral order.
Fresco technique: Fresco technique is a method of mural painting where water-based pigments are applied on freshly laid wet plaster, allowing the paint to become an integral part of the wall. This technique is renowned for its durability and vibrant color, as the pigments bond with the plaster as it dries. It has been widely used in various cultures, particularly in ancient and medieval art, including significant works from East Asian contexts.
Gilt bronze: Gilt bronze is a metal alloy made of bronze that is coated with a thin layer of gold, creating a visually striking and luxurious appearance. This technique has been widely used in East Asian art, particularly in Buddhist sculptures and decorative items, to signify purity, divinity, and the elevated status of the depicted figures. The shimmering finish not only enhances the aesthetic appeal but also reflects the spiritual significance attributed to gold in various cultural contexts.
Hōryū-ji temple murals: Hōryū-ji temple murals are significant works of art located within the Hōryū-ji temple complex in Japan, reflecting the cultural and artistic developments of the Asuka period. These murals are crucial for understanding the transition from ancient to classical Japanese art, illustrating Buddhist themes and iconography while showcasing techniques influenced by Chinese painting styles of the time.
Introduction of buddhism to japan: The introduction of Buddhism to Japan refers to the process that began in the 6th century, where the teachings and practices of Buddhism were brought from Korea and China to the Japanese archipelago. This momentous event marked a significant cultural shift, influencing various aspects of Japanese art, architecture, philosophy, and social structure during the Asuka period.
Kannon bodhisattva: Kannon bodhisattva, also known as Avalokiteshvara in Sanskrit, is a significant figure in Mahayana Buddhism, embodying compassion and mercy. This deity is revered for her ability to hear the cries of the suffering and assist them in overcoming their troubles. The artistic representations of Kannon during the Asuka period reflect a blend of Indian and native Japanese artistic influences, which contributed to the development of Buddhist sculpture and painting in Japan.
Korean Influence: Korean influence refers to the significant cultural, artistic, and architectural impacts that Korea had on neighboring regions, particularly Japan, during various historical periods. This influence is evident in the introduction of Buddhism, the development of temple architecture, and artistic expressions seen in sculpture and painting. The Korean impact played a crucial role in shaping the aesthetic and spiritual landscape of these regions.
Kudara kannon: Kudara Kannon refers to a specific style of Buddhist sculpture from the Asuka period, characterized by its serene expression and graceful posture, representing the bodhisattva Avalokiteshvara (Kannon in Japanese). This iconic figure symbolizes compassion and mercy, reflecting the deep spiritual influences from the Korean Peninsula, particularly during the cultural exchanges between Japan and the Korean kingdom of Baekje (Kudara).
Lacquer painting: Lacquer painting is a decorative art form that involves the application of a clear or colored lacquer finish to a surface, often wood, to create a smooth and shiny appearance. This technique has deep historical roots in East Asia, particularly during the Asuka period, where it was used to enhance the beauty of sculptures and other artworks.
Lotus flower: The lotus flower is a significant symbol in Buddhist art and culture, representing purity, enlightenment, and rebirth. Its ability to rise from muddy waters and bloom beautifully reflects the journey of the soul toward spiritual awakening, making it a vital motif in various forms of artistic expression, architecture, and religious practices.
Ma: Ma is a Japanese concept that refers to the negative space or interval that exists between objects, events, or moments, emphasizing the importance of what is not there. It plays a significant role in East Asian aesthetics by highlighting the relationship between forms and their surroundings, creating a sense of balance and harmony. Understanding ma allows for a deeper appreciation of art, architecture, and design by recognizing how absence contributes to meaning and perception.
Mandorla: A mandorla is an almond-shaped aura or halo that surrounds and frames sacred figures in art, particularly in Christian iconography. This shape is often used to signify the divine nature of the subject, emphasizing their spiritual significance and connection to heaven. In the context of art, especially during significant periods like the Asuka period in Japan, the mandorla serves to highlight the importance of the figures it encases, often indicating their role as mediators between the earthly and heavenly realms.
Nara Style: Nara Style refers to a distinctive artistic movement that emerged during the Nara period in Japan, roughly from 710 to 794 CE, characterized by the adoption and adaptation of Buddhist art influenced by continental Asian styles. This style is marked by realistic representations of figures, intricate details, and a focus on Buddhist themes, reflecting the period's strong connection to Buddhism as the state religion.
Pagoda: A pagoda is a tiered tower with multiple eaves, commonly found in East Asian architecture, especially associated with Buddhist temple complexes. It serves both as a religious structure and a symbol of cultural identity, reflecting the unique artistic and architectural traditions of various East Asian regions.
Shaka Triad: The Shaka Triad is a significant early example of Buddhist sculpture in Japan, created during the Asuka period around 623 CE. It depicts Shakyamuni Buddha (the historical Buddha) flanked by two bodhisattvas, and is notable for its artistic style that blends indigenous Japanese elements with influences from Chinese and Korean art. This triad represents a key moment in the development of religious art in Japan, showcasing the transition from native traditions to the incorporation of Buddhist imagery.
Shitennō: Shitennō refers to the Four Heavenly Kings in Japanese Buddhism, who are believed to protect the teachings of the Buddha and guard the world against evil. These figures were prominently depicted in sculpture and painting during the Asuka period, embodying a blend of Indian, Chinese, and native Japanese artistic influences. Their representation often highlights their fierce expressions and elaborate armor, symbolizing their role as protectors.
Taika Reform: The Taika Reform was a series of significant political and social changes initiated in Japan in 645 CE, aimed at centralizing the imperial authority and establishing a more bureaucratic government. These reforms were heavily influenced by Chinese models of governance, particularly during the Asuka period, leading to the introduction of new administrative practices, land ownership regulations, and a shift toward a more structured society. The Taika Reform marked a pivotal moment in Japanese history, setting the stage for further developments in art and architecture that reflected these changes.
Tamamushi shrine: The tamamushi shrine is a small, intricately crafted wooden structure from Japan's Asuka period, notable for its vibrant colors and detailed carvings. It serves as a ceremonial object and reflects the influence of both native Shinto beliefs and imported Buddhist motifs, showcasing the cultural syncretism of the time. This shrine is particularly recognized for its use of lacquer and the depiction of various Buddhist themes in its artwork.
Temple complex: A temple complex refers to a series of interconnected religious structures that are part of a larger sacred site, typically designed for worship and spiritual practices. These complexes often include various temples, shrines, halls, and other facilities that serve different religious functions, reflecting the architectural and cultural significance of the era in which they were built. In the context of early East Asian art, particularly during the Asuka period, temple complexes became vital centers for Buddhist practice and artistic expression.
Tori busshi: Tori busshi refers to the renowned sculptor of the Asuka period in Japan, known for his influence on Buddhist sculpture and the development of Japanese art. His work marked a significant transition in artistic expression, incorporating techniques from continental Asia and adapting them to fit Japanese cultural contexts. Tori busshi's sculptures played a vital role in the spread of Buddhism in Japan, reflecting both the religious and artistic transformations occurring during this period.
Wabi-sabi: Wabi-sabi is a Japanese aesthetic that finds beauty in imperfection, transience, and the natural cycle of growth and decay. It emphasizes simplicity, authenticity, and the appreciation of the imperfect, which aligns closely with traditional East Asian philosophies and aesthetics that embrace nature and the fleeting nature of life.
Yamato-e: Yamato-e refers to a distinct style of Japanese painting that emerged during the Heian period, characterized by its focus on native themes, colors, and aesthetics, often showcasing scenes from Japanese literature and daily life. This style contrasts with the more Chinese-influenced painting styles of the time, emphasizing a uniquely Japanese perspective in art.