Re-evaluating Baekje Art's Excellence, Which Captivated Japan and Silla

Hankyoreh

The Baekje Gilt-bronze Incense Burner, a masterpiece discovered at the Neungsan-ri temple site, stands as a testament to the unique artistic brilliance of the Baekje Kingdom. Its intricate craftsmanship, detailed depictions, and overall aesthetic splendor are unparalleled. The recent surge in visitors to the National Buyeo Museum, driven by the dedicated exhibition of this single artifact, underscores its profound cultural significance. This phenomenon echoes the success of the National Museum of Korea's 'Room of Contemplation,' dedicated to two Silla Buddhist figures, which propelled the museum to global recognition.

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The Baekje Gilt-bronze Incense Burner has a unique artistic value that is unparalleled in terms of the sophistication of its production technology, detailed depiction, and overall form, beauty, and splendor.

While the Baekje Gilt-bronze Incense Burner is a stunning example, the scarcity of Baekje artifacts in Korea presents a challenge. Unlike Silla's well-preserved tombs, Baekje's burial sites were more susceptible to tomb-robbing, leaving fewer tangible remnants of its artistic legacy. This scarcity has led to a reliance on external evidence, particularly from Japan, where Baekje's artistic influence is more visibly preserved. German missionary Andreas Eckardt and American scholar John Carter Covell have both noted the significant presence of Baekje-influenced art in Japan, suggesting that much of what is celebrated as early Japanese art has roots in Baekje.

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Over 90% of Japan's Asuka culture is influenced by Korea, especially Baekje.

Covell, in particular, argued that over 90% of Japan's Asuka culture was influenced by Baekje. He identified numerous artifacts in Japanese temples, such as the Kudara Kannon (Baekje Kannon) and the Triad Buddha in Horyuji Temple's Golden Hall, as either originating from Baekje or being created under the strong influence of Baekje artisans. This perspective challenges the historical narrative, especially one shaped during the Japanese colonial period, which tended to obscure or distort Korea's cultural contributions. The article posits that the limited understanding of Baekje art within Korea, partly due to the paucity of surviving artifacts, has hindered its proper appreciation.

It is crucial to re-evaluate Baekje's artistic legacy, moving beyond the traditional interpretation of Korean aesthetics, often characterized by Kim Bu-sik's phrase '儉而不陋 華而不侈' (儉而不陋 華而不侈 - simple but not crude, ornate but not extravagant). While this phrase might apply to other Baekje works like the Five-Story Stone Pagoda at Jeongnim Temple or the stone reliefs at Seosan, it hardly captures the exuberant and sophisticated artistry of the Gilt-bronze Incense Burner. The article urges a broader perspective, acknowledging the extensive influence Baekje exerted on its neighbors and recognizing the kingdom's distinct and magnificent artistic achievements.

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Simple but not crude, ornate but not extravagant.