During the Three Kingdoms period, Buddhism was introduced to Korea as a new religion. Over time, all three of the reigning kingdoms of Baekje, Goguryeo, and Silla embraced Buddhism, and the new faith brought profound changes in the hearts and lives of the people. Religious beliefs and practices were transformed by the appearance of monks, the establishment of the first Buddhist temples, the introduction of new ideas and values, and the presence of new deities with exotic appearances. What did the people of the Three Kingdoms period see when they encountered Buddhas and bodhisattvas for the first time? As one of the oldest extant bodhisattva statues in Korea, this gilt-bronze bodhisattva statue, designated as a Treasure (formerly Treasure #333), showcases the early style of Korean Buddhist sculpture. As such, this important artifact provides a fascinating glimpse into the lives of the first Buddhists who inhabited this land about 1,500 years ago.

When you first look at this statue, what stands out to you? Although there may not be one defining feature that everyone can agree on, we can highlight several notable details, such as the slender physique, angular face, enlarged hands, and the long, narrow strips of ornamental cloth that extend prominently on both sides. If you take a closer look, you will also notice a faint smile on the bodhisattva’s face.

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.

As one of the oldest extant bodhisattva statues in Korea, this figure shows some of the key features of early Buddhist sculpture during the Three Kingdoms period.

In Mahayana Buddhism, bodhisattvas are greatly revered figures comparable to Buddha, who postpone their own enlightenment in order to help save sentient beings of the world. Bodhisattvas are thus usually depicted as noble, elegant figures with their hair tied up, wearing resplendent crowns and ornaments, and draped with a shawl-like strip of ornamental cloth. This particular bodhisattva is wearing a three-pronged crown or headpiece, a necklace with a pointed end, and a skirt-like cloth and undergarments. The striking appearance is enhanced by rounded epaulettes on the shoulders and the elongated strip of ornamental cloth that juts out sharply on both sides.

This statue was originally part of a triad, with a Buddha in the center, flanked by two attendant bodhisattvas on either side. In very early examples of such triads, the Buddha and each bodhisattva may have had separate halos and pedestals. But by the sixth century of the Three Kingdoms period, Buddha triads with a single halo had become prevalent.

In the sixth century of the Three Kingdoms period, gilt-bronze Buddha triads with a single halo became prevalent.

The back of this statue is flat, with prongs protruding respectively from the torso and legs. With some gilt-bronze Buddha triads with a single halo, the figures and the halo were cast together as one piece. In this case, however, the main Buddha, halo, and pedestal were cast separately and then assembled into one piece, as evidenced by the prongs on the bodhisattva’s back, where it was once attached to the halo. Another prong can be found beneath the pedestal on which the bodhisattva stands, suggesting that it could have once been connected to a separate lotus pedestal.

Considering the size of the statue and the prongs on the back, it was likely the main bodhisattva of a bodhisattva triad, with two attendant monks on either side. A similar example of a bodhisattva triad was excavated in Chuncheon, Gangwon-do Province. Although there are no records, inscriptions, or other details (such as a symbolic object held in the hand) to help identify the bodhisattva, it could be either Avalokiteshvara Bodhisattva or Maitreya Bodhisattva, both of whom were popularly depicted during the Three Kingdoms period.

The Three Kingdoms period, which marked the beginning of Buddhist art in Korea, was a time of diverse religious, artistic, and technological experimentation. Despite the multiplicity of coexistent cultures, this period established the initial direction for the flow of Buddhist art and culture that continued for the next 1,600 years, spanning the Unified Silla period and the Goryeo and Joseon dynasties.

Above all, in the early stages of creating a new religious art in the Three Kingdoms period, fundamental questions were raised about why certain details of foreign artworks should be adopted and others should not. To this day, scholars and historians continue to debate whether the results of those choices should be seen as unique characteristics of Korean Buddhist art. This gilt-bronze bodhisattva statue may be just a small fragment testifying to those ancient times. But when you look at it today, please try to imagine the earnest hearts of the people of that era who embraced the unfamiliar religion of Buddhism in their quest for salvation, as well as the artists who grappled with how to depict the new deities in the form of Buddhas and bodhisattvas.