The importance of carved gesture

Bangasayusang

the serene smile of Buddha

China has influenced Far East for long and profoundly in language, culture, art. Korean artists get inspired by Chinese examples in sculpture too developing their own simple and elegant style. Korean artistic models reach Japan soon because of geography of Korea which is a peninsula-bridge between China and the Land of Rising Sun. Sculpture begins to develop at the same time of Buddhism diffusion through Far East due to Chinese monks. Buddhism officially gets to Korea in IV century during Three Kingdoms (57 BC – 668 AD ) and it is keenly received by Baekje dynasty in South Western peninsula. In this kingdom the most original Buddhist statuesque art of Korea develops and it profoundly influences contemporary sculpture of Asuka (538 – 710) and Nara (710 – 794) Japan. Baekje carved sacred images are extremely different from Goguryeo and Silla kingdoms ones. Baekje statues show softer and more delicate shapes and their visage has got a kind expression and a gentle sweet smile called “Baekje smile” (백제인의 미소) which is the most peculiar characteristic of this style.
Geumdong Mireuk Bosal Bangasayusang or Bangasayusang (“Gilt-bronze Maitreya Bodhisattva Half-sitting Thinking Statue”, 반가사유상) is the most significant and well-known Baekje statue - National Treasure of Korea No. 83 - currently stored at National Museum of Korea. This work probably dates back to early VII century in late Baekje (18 BC – 660 AD) even if it could perhaps be carved in early Unified Silla (668 – 935) as attested by drapery style and by sharp nose. However serene and graceful smile and harmonious form are typical of Baekje style. The gilt-bronze statue is 93.5 centimetres tall and it represents Maitreya the future Buddha (Mireuk, 미륵) i. e. Buddha before next coming into the world. Maitreya is sitting with right hand resting on cheek in a meditative attitude which gives tranquillity and hope. His right leg is leaning on the left knee and left hand is resting on bent leg ankle. This is the typical position of Maitreya in Korean and – by reflex - Japanese statues. Carved drapery is realistic and the shape is lithe and nimble and it gives vitality and harmony. As all Maitreya statues Bangasayusang is devoid of adornments too and his chest is bare since that emphasizes the simplicity of future Buddha.
The Nihon Shoki (日本書紀) – book of Japanese history completed in 720 – mentions that in 552 king Seong of Baekje sent some Buddhist monks to Nara, Japan. In fact Buddhism reaches Japan from Korea and Japanese artists hark back to Korean Buddhist art especially in sculpture. Chinese and Korean monks bring Buddhist images with themselves during their journey and these representations are the models to be copied by local artists.
In Japan Miroku Bosatsu or Hōkan Miroku (弥勒菩薩半跏像 or 宝冠弥勒) at Kyoto’s Kōryū-ji is a red pine carved statue of Maitreya - National Treasure of Japan No. 1 – 84.2 centimetres tall. It is quite the same of Bangasayusang in proportions and appearance. For years it was regarded as a work by a Japanese artist inspired by a Korean statue but now it is considered as a Korean work itself. Miroku of Kyoto probably dates back to VII century as well. The smile of this statue is slightly more marked than Bangasayusang and Mireuk’s necklace is absent in this sculpture to underline more profoundly - together with the wood as utilised matter - the future Buddha cleanness before his coming down to the world. Kyoto’s Miroku statue conveys a bigger feeling of naturalness of grace and of vivacity compared to Bangasayusang. Korean artist who carved Miroku creates a work in elegant realism style which is typical of Japanese sculpture.
Nihon Shoki also mentions that in 584 Baekje kingdom – called Kudara by the Japanese - sent an image of Maitreya to Japan. The idea that this mentioned statue could be the same carved wooden of Kōryū-ji based on Bangasayusang model is very fascinating. In this period many Miroku statues of several dimensions are brought from China and Korea to Japan. However Japanese artists are influenced mainly by Korean models and later on they develop their own style.
Maitreya thinking statue probably develops in Three Kingdoms Korea when continual wars of this period make Korean people hope for a saviour who could bring peace i. e. Maitreya the future Buddha. Mireuksa – one of the most important temples of Baekje Kingdom completed in 602 by king Mu – is in fact devoted to Maitreya.
Geumdong Mireuk Bosal Bangasang (금동 미륵보살 반가상) – National Treasure of Korea No. 78 – distinguishes itself among Maitreya statues of Korea and it represents Maitreya the future Buddha half-sitting and meditating like Bangasayusang. The gilt-bronze statue is 83.2 centimeters tall and it could date back to middle or end of VI century. Its origin is uncertain. The mannered style and the stylized drapery are typical of Silla kingdom art. Nevertheless the serene smile on the statue’s face is characteristic of Baekje.
Often in China Maitreya statues have got an inscription which indicates them as representations of the future Buddha. Korean and Japanese Maitreya statues haven’t got any inscription since Maitreya statue model is formalized and peculiar and consequently recognizable to everybody.
Maitreya statue shows not only the half-sitting pose with the bent leg and the hand resting on cheek but it shows also the smile, that serene and mysterious smile which speaks and teaches even if in silence giving an unknown tranquillity to observer.

Floriano Terrano