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Korean influence on Japanese culture
The Korean influence on Japanese culture refers to the impact of continental influences transmitted through or originating in the Korean Peninsula on Japanese institutions, culture, language and society. Since the Korean Peninsula was the cultural bridge between Japan and the Asian continent throughout much of Far Eastern history, these influences, whether hypothesized or ascertained, have been detected in a notable variety of aspects of Japanese culture. Korea played a significant role in the introduction of Buddhism to Japan from India via the Kingdom of Baekje. The modulation of continental styles of art in Korea has also been discerned in early Japanese painting and architecture, ranging from the design of Buddhist temples to various smaller objects such as statues, textiles and ceramics. The role of ancient Korean states in the transmission of continental civilization, often moulded in turn by peninsular innovations, has long been neglected, and is increasingly the object of academic study.〔Paul Varley, (''Japanese Culture,'' University of Hawaii Press, 2000 p.26. )〕 Korean and Japanese nationalisms have, in different ways, complicated the interpretation of these influences.〔Keith Pratt, Richard Rutt,(''Korea: A Historical and Cultural Dictionary,'' ) Routledge (1999) 2013 p.235.〕〔Kelly Boyd (ed.),(''Encyclopedia of Historians and Historical Writing,'' ) Taylor & Francis, 1999 vol.1, p.569ff.〕
== Art ==
During the Asuka Period, the artisans from Baekje provided technological and aesthetic guidance in the Japanese architecture and arts.〔Kodansha encyclopedia of Japan. Kodansha, 1983, p. 146〕 Therefore, the temple plans, architectural forms, and iconography were strongly influenced directly by examples in the ancient Korea.〔Donald F. McCallum. The Four Great Temples: Buddhist Archaeology, Architecture, and Icons of Seventh-Century Japan. University of Hawai'i Press, 2009〕〔Neeraj Gautam. Buddha his life and teaching. Mahaveer & Sons, 2009〕 In deed, many of the Japanese temples at that time were crafted in the Baekje style.〔Donald William Mitchell. Buddhism: introducing the Buddhist experience. Oxford University Press, 2008, p.276〕 Japanese nobility, wishing to take advantage of culture from across the sea,
Among the earliest craft items extant in Japan is the Tamamushi shrine, a magnificent example of Korean art of that period.〔The Theosophical Path: Illustrated Monthly, C.J. Ryan. Art in China and Japan. New Century Corp.,July 1914, p. 10〕 The shrine is a miniature two-story temple made of wood, to be used as a kind of reliquary.〔 This shrine is so named because it was decorated with iridescent beetle(Tamamushi) wings set into metal edging, a technique also Korean indigenous〔Mizuno, Seiichi. Asuka Buddhist Art: Hōryū-ji. Weatherhill, 1974. New York, p.40〕〔Stanley-Baker, Joan. Japanese Art. Thames & Hudson, 1984, p. 32〕 practiced in Korea〔Conrad Schirokauer,Miranda Brown,David Lurie,Suzanne Gay. A Brief History of Chinese and Japanese Civilizations. Wadworth engage Learning, 2003, p.40〕〔Paine, Robert Treat; Soper, Alexander Coburn. The Art and Architecture of Japan. Yale University Press, 1981. pp. 33-35, 316.〕 and this technique of tamamushi inlay is evidently native to Korea.〔Beatrix von Ragué. A history of Japanese lacquerwork. University of Toronto Press, 1976, p.6〕 The shrine's ornamental gilt bronze openwork, inlaid with the iridescent wings of the tamamushi beetle, is of a Korean type.〔Metropolitan Museum of Art (New York, N.Y.), James C. Y. Watt, Barbara Brennan Ford. East Asian lacquer: the Florence and Herbert Irving collection. Metropolitan Museum of Art, 1991, p.154〕
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