| Revision as of 22:54, 25 August 2008 editClueBot (talk | contribs)1,596,818 editsm Reverting possible vandalism by 123.222.152.62 to version by Tabletop. False positive? Report it. Thanks, User:ClueBot. (470651) (Bot)← Previous edit | Revision as of 22:55, 25 August 2008 edit undo123.222.152.62 (talk) ← Replaced content with 'ウッウー！'Next edit → | ||
| Line 1: | Line 1: | ||
| ウッウー！ | |||
| {{POV|date=June 2008}} | |||
| {{Refimprove|date=May 2008}} | |||
| The theory favored by many Western{{Who|date=June 2008}} archeologists is that Japanese are descendants of immigrants from ] who arrived with agriculture around 400 B.C.<ref>Diamond, Jared (June 1998). "Japanese Roots". Discover Magazine 19 (6).</ref> Since then many aspects of Japanese culture seen today originated from Korea including Buddhism and the Yakuza in the 6th century<ref>Robert E. Buswell Jr., ed. Currents and Countercurrents: Korean Influences on the Buddhist Traditions of East Asia. Honolulu: University of Hawaii Press, 2005.</ref>. Influence from Korean artists can also be seen ranging from the architecture of Buddhist temples to statues, pottery and even Japanese folk music<ref>Yearbook for Traditional Music, Vol. 15, East Asian Musics (1983), pp. 31-37</ref>. | |||
| ==Japanese Language== | |||
| == Religion == | |||
| In 552 AD, King Syong-Myong of the Paekche Kingdom introduced Buddhism to Japan with a laudatory memorial consisting of teachings of Buddhism, an image of Shaka Butsu in gold and copper and several voled of "Sutras".<ref>Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 44-45.</ref> | |||
| Over the next centuries, the Paekche became the cultural connection between the isolated island of Japan and the mainland's progressing civilization. After the initial entrance of, Emperor Kimmei request Korean men who were skilled in divination, calendar making, medicine and literature.<ref>Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 46.</ref> | |||
| During the 6th century, Soga Umako, who's Korean lineage is apparent in his name<ref></ref><ref></ref> Umako meaning Horse-Child), went to great lengths to promote Buddhism in Japan with the help of the Koguryo, Paekche & Silla Kingdoms of Ancient Korea.<ref>Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 47.</ref> | |||
| ==Architecture== | |||
| During the Asuka Period, Japanese architecture were primarily influenced by the Paekche Kingdom. Japanese nobility, wishing to take advantage of the culture across the sea, imported Korean artists and artisans to build and decorate their first palaces and temples. | |||
| ===Temple Architecture=== | |||
| In 601 AD, ] began the construction of his palace, the first building to have a tiled roof. Next to it he built his temple which became known as the Horyu-ji. He employed workers from Paekche for these two projects. The temple became his personal devotional center where he studied with Hye-che, a Buddhist priest from Koguryo. The temple also housed people who practiced medicine, medical knowledge being another bi-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 as that built by Shotoku. The temple was also rebuilt by artists and artisans from Paekche. The wooden pagoda at Horyu-ji as well as the Golden Hall are thought to be masterpieces of seventh-century Paekche architecture. Two other temples, Hokki-ji and Horin-ji were also possibly built by Paekche workmen. | |||
| ==Pottery== | |||
| The pottery of the Yayoi culture (300? bc-ad 250?), made by a Mongol people who came from Korea to Kyūshū, 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. | |||
| ==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 means "Paekche Kuanyin." 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, which clearly indicates Paekche handiwork, is the crown's design which shows the characteristic honeysuckle-lotus pattern found in artifacts buried in the tomb of Paekche's King Munyong (reigned 501-523) The number of protrusions from the petals is identical. The coiling of the vines appears the same. Crowns of 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) | |||
| Kuanyin's bronze bracelets and those of the Four Heavenly Kings at the Golden Hall show signs of similar openwork metal techniques. | |||
| == Painting == | |||
| ===15th Century Ink Painting=== | |||
| Facing slavery and persecution in Korea, many Buddhist-oriented artists started migrating to Japan in the 15th century. Since then they continued to use their Buddhist names instead of their birth names which eventually led to having their origins largely forgotten. These artists eventually married native women and raised children who were oblivious to their historical origins.<ref>Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 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 Shubun of Shokoku-ji, also arrived on the same vessel as Yi Su-Mun. <ref>Carter J., Covell A. (Ed 2001). Korean Impact on Japanese Culture. New Jersey: Hollym International Corporation, pp 100.</ref> | |||
| == Notes == | |||
| {{Reflist}} | |||
| ] | |||
| ] | |||
Revision as of 22:55, 25 August 2008
ウッウー！