In 1976, this Buddha statue was discovered at a temple site on the banks of the South Han River in Yangpyeong, Gyeonggi-do Province. The statue has lost some of its gilding on the face and back, its hands and feet have been damaged, and it lacks the elaborate halo and lotus pedestal that often accompany such statues. Furthermore, there is no evidence as to what temple (if any) this statue may have been enshrined at, nor any clues about when, why, or for whom it was produced. In other words, it seems to be a relatively unremarkable statue with no known history. And yet, surprisingly, this seemingly ordinary statue has been designated as a National Treasure of Korea. So what makes this unassuming little statue so special?

To understand the significance of this Buddha statue, we must take a closer look at its form. At first glance, you will notice the superb proportions of the body, giving the statue an oval shape and a sense of fullness, almost as if it is about to burst. The eyes are gently downcast for a look of serenity, but the subtle raising of the chin conveys a taut sense of tension. From the rounded shoulders downward, the body has a simple cylindrical shape. The outer robe, a quintessential feature of the Buddha’s clothing, is draped over both shoulders and flows gracefully down the body. Both hands are damaged, but the remaining portions suggest that the figure was originally expressing the hand gestures of the abhaya mudra (representing reassurance and protection) and varada mudra (representing the granting of wishes). Another distinguishing feature is the ushnisha, a protrusion of flesh atop the head, which here is relatively low and flat. Traces of hair curls can still be seen. The elongated ears extend down the neck, which is uniquely quite long and thick.

With its simple yet robust cylindrical body and taut sense of volume, this statue showcases new trends in Buddhist sculpture that emerged from the early seventh century.

The true uniqueness of this sculpture becomes apparent in the back and side views, which reveal that the sculptors meticulously shaped each side, including the back. The three-dimensional form of the statue is especially apparent in the side view. When compared to earlier Korean gilt-bronze Buddhas, such as the one with an inscription reading “seventh year of Yeonga” (also housed at the National Museum of Korea), the difference is quite clear. The statue found in Yangpyeong was crafted with a fully three-dimensional approach, considering not only the front, but also the sides and back.

Why is this difference so important? The new method of expressing a greater sense of volume by sculpting the entire body represents a pivotal change in sculptural history. This shift in style can be traced back to Chinese Buddhist sculpture of the late sixth and early seventh century, around the end of the Northern and Southern Dynasties (420–589). This was a time of great political turmoil in China, but also a period of diverse new experiments in religious culture. Perhaps most notably, the representation of the human body dramatically evolved from the somewhat abstract styles of earlier statues to more natural and realistic forms.

These two sculptures found respectively in Hoengseong, Gangwon-do Province, and Yeongju, Gyeongsangbuk-do Province share many key similarities with the gilt-bronze Buddha from Yangpyeong, including the cylindrical body, low and flat ushnisha, and gentle U-shaped folds in the robes.

During the Three Kingdoms period, Korean artisans actively embraced these new sculptural techniques, combining them with their own indigenous aesthetics. As such, the gilt-bronze statue found in Yangpyeong not only reflects the sculptural tradition of China’s Northern Qi, Northern Zhou, and Sui Dynasties, but also visualizes the transition to the sculpture of the Unified Silla period. With its elongated body proportions and new emphasis on three-dimensionality, it represents the initial stages of the new sculptural trends that emerged in the early seventh century. Hence, this small statue embodies the flow of ancient Buddhist sculpture in East Asia. Similar statues found in Hoengseong, Gangwon-do Province, and Yeongju, Gyeongsangbuk-do Province, indicate that these major changes were occurring across a wide area at the time.

Although this statue is slightly larger than some other extant gilt-bronze buddhas from the Three Kingdoms period, it is probably too small to have been enshrined as the main Buddha of a temple. For example, according to Memorabilia of the Three Kingdoms (三國遺事), Hwangnyongsa Temple in Gyeongju had an iron Buddha, completed in 574, that had been sent by King Ashoka of India and measured between 4 and 4.64 meters in height. Although the statue itself is no longer extant, its massive pedestal remains at the site of Hwangnyongsa Temple, giving a rough idea of its size. At the time, such monumental statues served as symbols of the era and the nation, but they could not be moved from their original enshrined locations.

In contrast, the gilt-bronze Buddha from Yangpyeong and other smaller statues discussed in this article were portable. Since such statues could be easily carried or moved, the place where they were enshrined or excavated is not necessarily the place where they were produced. The best-known example of this is the aforementioned gilt-bronze Buddha with the inscription “seventh year of Yeonga,” which was discovered in Uiryeong, Gyeongsangnam-do Province—formerly the territory of Silla—but was originally produced at a Goguryeo temple in Pyongyang.

What is the significance of such portable statues in the development of Korean Buddhist art? From the time that Buddhism was first introduced and established in Korea during the Three Kingdoms period, Buddhist beliefs, rituals, and culture gradually spread and circulated. Thus, portable gilt-bronze statues likely played a key role in transmitting new sculptural forms and styles throughout the nation. As these statues crossed borders and found new homes, they inspired the emergence of diverse foreign sculptural traditions in new places. In fact, these small statues often served as models for producing the massive Buddha statues that were enshrined in the main halls of temples. Moreover, even the smallest statues, measuring less than 5 cm high, could be vital tools for personal religious practices.

Within the development of Buddhism and Buddhist art in the Three Kingdoms period are many fascinating stories associated with these portable statues. So the next time you visit the National Museum of Korea, if you happen to encounter this gilt-bronze Buddha from Yangpyeong, designated as a National Treasure (formerly National Treasure #186), please take a moment to look it over carefully. Hopefully you too will be inspired by the stories of innovation that it encapsulates.