Unveiling ancient South Indian Buddhist art
I had the delightful opportunity to participate in a year-end celebration dedicated to graduates of the Creative CEO program, a cultural education initiative orchestrated by the National Museum of Korea, on Dec. 27, 2023.
Commencing in 2009, this remarkable program has been conducted 14 times, providing valuable insights and fostering a profound appreciation for the cultural arts. Personally, I took part in the second iteration in 2010 and take immense pride in being an alumnus of this esteemed educational endeavor. Remarkably, the program has attracted participants from a wide range of backgrounds, including government officials, business and academic professionals, as well as enthusiasts of art and cultural history.
The pinnacle of the celebration of the year-end gethering was an exclusive viewing of the exhibition titled "Tree and Serpent: Early Buddhist Art in India (Forest of Stupa)," graciously guided by Choi Seon-ju, former director of Gyeongju National Museum. The exhibition is being held at National Museum of Korea in Seoul through April 14.
This captivating display, available for public viewing, allowed all attendees to immerse themselves in the artistic brilliance showcased. As we explored the exhibit, it felt like a poignant journey back to our alma mater, evoking cherished memories from our participation 14 years ago.
The National Museum of Korea showcases remarkable ancient Buddhist art depicting the vibrant landscapes of southern India, teeming with spiritual energy and narratives centered around Sakyamuni.
The exploration commences with the teachings of Sakyamuni, born in the fifth century B.C. in the Himalayan Mountains in northern India, and unfolds a saga that spans centuries, embracing the Deccan Plateau's unique climate and customs.
Buddhism, initially originated from the north, found its way to southern India, where it encountered a distinctive milieu. In this new landscape, Buddhism embarked on a fresh narrative, encountering vibrant divines and nurturing a flourishing array of sophisticated artworks. The National Museum of Korea serves as the stage for enigmatic yet mystical narratives, encapsulating the evolution of South Indian Buddhist art from the 2nd century B.C. During this period, Sakyamuni's presence was symbolized by trees (Bodhi trees) and footprints. The narrative extends to the fourth century A.D., when Sakyamuni assumed the familiar human form depicted in statues.
Organized by the National Museum of Korea in collaboration with the Metropolitan Museum of Art in New York, the exhibition is a testament to international cooperation and cultural exchange. A total of about 100 distinctive artifacts, loaned from 12 distinguished museums in India, including the National Museum of New Delhi, along with contributions from 18 esteemed institutions across four countries, are on display. The artifacts, including those unearthed from the ruins newly explored in the 21st century, offer a captivating journey through time, revealing the evolution of South Indian Buddhist art in its full splendor.
In particular, I drew inspiration from the stupa, a monumental dome crafted to house "sarira," the relics of the Buddha.
These relics, comprising cremated ashes, pearls, and gemstones, were distributed among at least 84,000 stupas commissioned by King Asoka in the mid-third century B.C. The term "stupa" denotes an ancient Indian structure designed to enshrine sacred sarira. The exhibition showcases extraordinary artifacts, including jasmine buds, as well as pearls and gold flower fragments dating back approximately 2,200 years, arranged in a distinctive and captivating mandala design.
The allure of the exhibit is further enhanced by remnants of weathered stone panels and pillars from stupas. This distinctive display of South Indian Buddhist art not only unveils its aesthetic beauty, but also prompts contemplation of universal themes, fostering potential connections between Korea and India. May this exploration pave the way for deeper understanding and appreciation between the two countries, transcending religious beliefs and artistic boundaries.
Choe Chong-dae (choecd@naver.com) is a guest columnist of The Korea Times. He is president of Dae-kwang International Co., and director of the Korean-Swedish Association.