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The '''Korean influence on Japanese culture''' refers to the influence of ] on ]. As Korean Peninsula was the cultural bridge between ] and the Asian continent through much of history, this influence has been felt in various aspects of Japanese culture. This influence was reflected most notably in the introduction of ] to Japan from ] via the Korean Kingdom of ]. Influence from Korea can also be seen in ] and ], ranging from the ] to various smaller objects such as ], ] and ].<ref name="Jon Carter Covell 1986">Jon Carter Covell, 1986</ref> |
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{{POV|date=October 2014}} |
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{{cleanup|reason=see discussion, too many statements about single incidents, no larger picture, overlap with other articles|date=October 2014}} |
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{{confusing|date=October 2014}} |
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As geographical neighbours in the ], Japan and Korea have had pervasive cultural influence on each other, for good or bad, over the millennia. This article mentions two particular aspects of this: in the introduction of ] to Japan from ] via the Korean Kingdom of ], and in musical instruments. |
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== Introduction of Buddhism to Japan == |
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== Art == |
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Baekje buddhist priest and physician<ref>Encyclopaedia of Asian civilizations, Volume 3. L. Frédéric, 1977</ref> ] came in the reign of the Japanese ], and brought books on ], ] and ], which led to use of the calendar in Japan,<ref>], Volume 54. Sophia University(Jōchi Daigaku), 1999</ref> whereupon students were chosen to be educated in these sciences. He also taught ] to the young students selected by the Japanese imperial court.<ref>John Z. Bowers. Medical education in Japan: from Chinese medicine to western medicine. Hoeber, 1965</ref> |
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During the ], the artisans from ] provided technological and ] guidance in the Japanese architecture and arts.<ref name="Kodansha encyclopedia of Japan">Kodansha encyclopedia of Japan. ], 1983, p. 146</ref> Therefore, the temple plans, architectural forms, and iconography were strongly influenced directly by examples in the ancient Korea.<ref>Donald F. McCallum. The Four Great Temples: Buddhist Archaeology, Architecture, and Icons of Seventh-Century Japan. University of Hawai'i Press, 2009</ref>{{Page needed|date=October 2014}} <ref>Neeraj Gautam. Buddha his life and teaching. Mahaveer & Sons, 2009</ref>{{Page needed|date=October 2014}} In deed, many of the Japanese temples at that time were crafted in the Baekje style.<ref>Donald William Mitchell. Buddhism: introducing the Buddhist experience. Oxford University Press, 2008, p.276</ref> Japanese nobility, wishing to take advantage of culture from across the sea, {{Citation needed span|text=imported artists and artisans from the Korean Peninsula (most, but not all, from Baekje) to build and decorate their first palaces and temples.|date=June 2011}} |
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Among the earliest craft items extant in Japan is the ], a magnificent example of ] of that period.<ref>The Theosophical Path: Illustrated Monthly, C.J. Ryan. Art in China and Japan. New Century Corp.,July 1914, p. 10</ref><ref name="Fenollosa">{{cite book |author=] |title=Epochs of Chinese and Japanese Art: An Outline History of East Asiatic Design |publisher=] |year=1912 | page=49}}</ref> The shrine is a miniature two-story temple made of wood, to be used as a kind of reliquary.<ref name="Fenollosa"/> This shrine is so named because it was decorated with iridescent beetle(]) wings set into metal edging, a technique also Korean indigenous<ref name="Mizuno1974">Mizuno, Seiichi. Asuka Buddhist Art: Hōryū-ji. Weatherhill, 1974. New York, p.40</ref><ref>Stanley-Baker, Joan. Japanese Art. ], 1984, p. 32</ref> practiced in Korea<ref>Conrad Schirokauer,Miranda Brown,David Lurie,Suzanne Gay. A Brief History of Chinese and Japanese Civilizations. Wadworth engage Learning, 2003, p.40</ref><ref>Paine, Robert Treat; Soper, Alexander Coburn. The Art and Architecture of Japan. Yale University Press, 1981. pp. 33-35, 316.</ref> and this technique of tamamushi inlay is evidently native to Korea.<ref>Beatrix von Ragué. A history of Japanese lacquerwork. University of Toronto Press, 1976, p.6</ref> The shrine's ornamental gilt bronze openwork, inlaid with the iridescent wings of the tamamushi beetle, is of a Korean type.<ref>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</ref> |
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=== Architecture === |
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The oldest Japanese Buddhist temple, ], constructed by craftsmen from the ancient Korean kingdom of Baekje in 588,<ref>Kakichi Suzuki. Early Buddhist architecture in Japan. Kodansha International, 1980, p.43</ref> was modeled upon the layout and architecture of Baekje.<ref>Herbert E. Plutschow. Historical Nara: with illustrations and guide maps. Japan Times, 1983, p. 41</ref> And one of the early great temples in Japan, such as the ] Temple was based on types from the ancient Korea.<ref>Asoke Kumar Bhattacharyya. Indian contribution to the development of Far Eastern Buddhist iconography. K.P. Bagchi & Co., 2002, p. 22</ref><ref name="LouisFrédéric2002">Louis Frédéric. Japan Encyclopedia. Harvard University Press, 2002, p.136</ref> |
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In 601, ] began the construction of his palace, the first building in Japan to have a tiled roof. Next to it he built his temple, which became known as ]. He employed a number of skilled craftsmen, monks, and designers from ] for this project.<ref>Mizuno, Seiichi. Asuka Buddhist Art: Hōryū-ji. Weatherhill, 1974. New York, p.14</ref><ref>Nishi and Hozumi Kazuo. What is Japanese Architecture? Shokokusha Publishing Company, 1983. Tokyo</ref>{{Page needed|date=October 2014}} The temple became his personal devotional center where he studied with Buddhist priests ] and ] from the Korean kingdom of ]; it also housed people who practiced medicine, medical knowledge being another by-product of Buddhism. Next to the temple there were dormitories which housed student-monks and teacher-monks.<ref name="az"> Mark Schumacher. A to Z Photo Dictionary of Japanese Buddhist Statuary.</ref> |
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The first Horyu-ji burned to the ground in 670. It was rebuilt, and although it is thought to be smaller than the original temple, Horyu-ji today is much the same in design as the one originally built by Shotoku. Again, the temple was rebuilt by artists and artisans from Baekje.<ref name="az"/> The bracket work of a Baekje gilt bronze pagoda matches the Hōryū-ji bracket work exactly.<ref>Shin, Young-hoon. "Audio/Slide Program for Use in Korean Studies, ARCHITECTURE". Indiana University.</ref> The wooden pagoda at Horyu-ji, as well as the Golden Hall, are thought to be masterpieces of seventh-century Baekje architecture.<ref name="az"/> Two other temples, ] and ], were also probably built by artisans of Korea’s Baekje kingdom.<ref> Mark Schumacher. A to Z Photo Dictionary of Japanese Buddhist Statuary.</ref> |
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=== Sculptures === |
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] |
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One of the most famous of all Buddhist sculptures from the Asuka period found in Japan today is the "]" which, when translated, means "] ]."(Kudara is the Japanese name for the Korean kingdom of Baekje<ref>Peter C. Swann. A concise history of Japanese art. Kodansha International, 1979, p. 44</ref>) This wooden statue was either brought from Korean Baekje or carved by a Korean immigrant sculptor from Baekje.<ref>Peter C. Swann. The art of Japan, from the Jōmon to the Tokugawa period. Crown Publishers, 1966, p.238</ref><ref>Ananda W. P. Gurugé. Buddhism, the religion and its culture. M. Seshachalam, 1975</ref>{{Page needed|date=October 2014}}<ref>Jane Portal. Korea: art and archaeology. British Museum, 2000, p. 240</ref> It formerly stood as the central figure in the Golden Hall at the Horyu-ji. {{Citation needed span|text=It was moved to a glass case in the Treasure Museum after a fire destroyed part of the Golden Hall in 1949.|date=April 2010}} "This tall, slender, graceful figure made from camphor wood is reflective of the most genteel state in the Three Kingdoms period. From the openwork crown to the lotus pedestal design, the statue marks the superior workmanship of 7th century ] artists."<ref name="proper">Jon Carter Covell 1986, p. 58.</ref> The first and foremost clue that clearly indicates Baekje handiwork is the crown's design, which shows the characteristic honeysuckle-lotus pattern found in artifacts buried in the tomb of King Munyong of Baekje (reigned 501-523).<ref name="proper"/> The number of protrusions from the petals is identical, and the coiling of the vines appears to be the same. Crowns of a nearly identical type remain in Korea, executed in both gilt bronze and granite. The crown's pendants indicate a carryover from ] designs seen in fifth-century Korean crowns.<ref name="proper"/> {{Citation needed span|text=Guanyin's bronze bracelets and those of the ] at the Golden Hall also show signs of similar openwork metal techniques.|date=April 2010}} |
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] |
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The another Hōryū-ji statue, "]" is made of gilded wood in the Korean style.<ref>Evelyn McCune. The arts of Korea: an illustrated history. C. E. Tuttle Co., 1962, p.69</ref> The Kannon retains most of its gilt. It is in superb condition because it was kept in the Dream Hall(Yumedono) and wrapped in five hundred meters of cloth and never viewed in sunlight. The statue which had originally come from ]<ref>Asiatic Society of Japan. Transactions of the Asiatic Society of Japan. The Society, 1986, p. 155</ref> and was held to be sacred and had remained unseen until it was unwrapped at the demand of ], who was charged by the Japanese government to catalogue the art of the state and later became a curator at the Boston Museum.<ref>June Kinoshita. "Gateway to Japan", pp. 587-588. Kodansha International, 1998</ref> Fenellosa also considered the Kannon to be Korean, who described the Kudara Kannon as “the supreme masterpiece of ] creation”.<ref name="Fenollosa"/><ref>Fenollosa, Ernest F. Epochs of Chinese and Japanese Art: An Outline History of East Asiatic Design. Heinemann, 1912, p.49</ref> According to the record Shogeishō (聖冏抄), a compilation of the ancient historical records and traditions about the Japanese Prince Regent ], which was written by a Japanese monk ] (1341-1420), the 7th Patriarchs of the ], Guze Kannon is a statue that is the representation of King ], which was carved under the order of the subsequent ].<ref>聖冏抄 ... 故威德王恋慕父王状所造顕之尊像 即救世観音像是也</ref> |
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More examples of Korea's influence were noted in the ], whose reporter writes when looking at Japan's national treasures like the "]" sculpture which came from ]<ref>Mizuno, Seiichi. Asuka Buddhist Art: Hōryū-ji. Weatherhill, 1974. New York, p. 80</ref><ref>Asia, Volume 2. ], 1979</ref> and has been preserved at ] Temple ; "''It is also a symbol of Japan itself and an embodiment of qualities often used to define Japaneseness in art: formal simplicity and emotional serenity. To see it was to have an instant Japanese experience. I had mine. As it turns out, though, the Koryuji sculpture isn't Japanese at all. Based on Korean prototypes, it was almost certainly carved in Korea''"<ref name="NYT 2003">]</ref> and ''"The obvious upshot of the show's detective work is to establish that certain classic "Japanese" pieces are actually "Korean".''<ref name="NYT 2003"/> |
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In the 8th century, groups of Sculptors of Baekje and ] origins participated in the construction works of ] Temple.<ref>Jirô Sugiyama, Samuel Crowell Morse. Classic Buddhist sculpture: the Tempyô period. Kodansha International, 1982, p.164</ref> The bronze statue of ] at Tōdai-ji Temple was predominantly made by ].<ref name="The Association">College Art Association of America. Conference. Abstracts of papers delivered in art history sessions: Annual meeting. The Association, 1998, p.194</ref> The Great Buddha project was supervised by a Korean Baekje craftsman, Gongmaryeo (or Kimimaro in Japanese) and had many Silla craftsmen from Korea working from the beginning of the project.<ref name="The Association"/> The Great Buddha was finally cast, despite great difficulty by virtue of the skill of imported craftsmen from Silla in 752.<ref>Richard D. McBride. Domesticating the Dharma: Buddhist Cults and the Hwaŏm Synthesis in Silla Korea. University of Hawaii Press, 2008, p.90</ref> Furthermore, Silla sculpture seems to have exerted considerable influence on the styles of the early ] in Japan.<ref>Jirô Sugiyama, Samuel Crowell Morse. Classic Buddhist sculpture: the Tempyô period. Kodansha International, 1982, p.208</ref> |
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=== Painting === |
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In 588, the Korean painter Baekga (白加) was invited to Japan from Baekje, and in 610 the Korean priest Damjing came to Japan from ] and taught the Japanese the technique of preparing ] and painting materials.<ref>Bernard Samuel Myers. Encyclopedia of world art. Buddhism in Japan McGraw-Hill, 1959</ref>{{Page needed|date=October 2014}}<ref>Terukazu Akiyama. Japanese painting. Skira, 1977, p. 26</ref> |
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In the 15th century, facing slavery and persecution as ] took a stronger hold during the ] in Korea, many Buddhist-sympathetic artists began migrating to Japan. Once in Japan, they continued to use their Buddhist names instead of their birth (given) names, which eventually led to their origins being largely forgotten. These artists eventually married native women and raised children who were oblivious to their historical origins.<ref>Jon Carter Covell 1986, p. 99.</ref> Many famous artists in Japan fall into this category. Yi Su-mun, who left for Japan in 1424 to escape persecution of Buddhists, painted the famous "Catching a Catfish with a Gourd". The famous ] of ] also arrived on the same vessel as Yi Su-mun.<ref name="InkPainting">Takaaki Matsushita. Ink Painting. Weatherhill, 1974, p. 64</ref><ref>Jon Carter Covell 1986, p. 100.</ref> The Korean painter Yi Su-mun, who as artist in residence to the Asakura daimyo family of Echizen in central Japan, was to play an important role in the development of Japanese ]:<ref name="InkPainting"/> He is reputed to have been the founder of the painting lineage of ], which reached its apex at the time of the great Zen master ] and his followers.<ref>Art of Japan: paintings, prints and screens : selected articles from Orientations, 1984-2002. Orientations Magazine, 2002, p.86</ref><ref>Akiyoshi Watanabe, Hiroshi Kanazawa. Of water and ink: Muromachi-period paintings from Japan, 1392-1568, p.89</ref> |
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The Soga (曽我派), a group of Japanese painters active from the 15c through the 18c, also claimed lineage from the Korean immigrant painter Yi Su-mun, and certain stylistic elements seen within the paintings of the school suggest Korean influence.<ref>Thomas Lawton, Thomas W. Lentz. Beyond the Legacy: Anniversary Acquisitions for the Freer Gallery of Art and the Arthur M. Sackler Gallery. University of Washington Pr, 1999, p.312</ref> Muncheong (or Bunsei in Japanese) was another Korean immigrant painter in the 15th century Japan, known only by the seal placed on his works extant in both Japan and Korea.<ref>Yang-mo Chŏng, Judith G. Smith, Metropolitan Museum of Art (New York, N.Y.) Arts of Korea. Metropolitan Museum of Art, 1998</ref>{{Page needed|date=October 2014}}<ref>Japan encyclopedia. Louis Frédéric, 2005, p.92</ref> |
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== Technique == |
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Various metal-working techniques such as iron-working, the ], the ], bronze bells used in ] Japan essentially originated in Korea.<ref>Farris, William Wayne. Sacred Texts and Buried Treasures: Issues in the Historical Archaeology of Ancient Japan. University of Hawaii Press, 1998, p. 69</ref> During the ], in the fifth century, large groups of craftspeople, who became the specialist gold workers, ]rs, ]s, and others arrived in ] Japan from the Baekje kingdom of Korea.<ref>Brian M. Fagan. The Oxford companion to archaeology. Oxford University Press, 1996, p.362</ref><ref>Japan. Bunkachō, Japan Society (New York, N.Y.), IBM Gallery of Science and Art. The Rise of a great tradition: Japanese archaeological ceramics of the Jōmon through Heian periods (10,500 BC-AD 1185). Agency for Cultural Affairs, Government of Japan, 1990, p.56</ref> |
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=== Iron ware === |
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Iron processing and sword making techniques in ancient Japan can be traced back to Korea. |
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"Early, as well as current Japanese official history cover up much of this evidence. For example, there is an iron sword in the Shrine of the Puyo Rock Deity in Asuka, Japan which is the third most important historical Shinto shrine. This sword which is inaccessible to the public has a Korean Shamanstic shape and is inscribed with Chinese characters of gold, which include a date corresponding to 369 A.D. At the time, only the most educated elite in the ] Kingdom knew this style of Chinese writing"<ref name="proper"/>{{Page needed|date=October 2014}} |
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"Inariyama sword, as well as some other swords discovered in Japan, utilized the Korean 'Idu' system of writing." The swords "originated in Paekche and that the kings named in their inscriptions represent Paekche kings rather than Japanese kings." The techniques for making these swords were the same styles from Korea.<ref name="proper"/>{{Page needed|date=October 2014}} |
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=== Pottery and porcelain === |
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] pottery derived from Final ] wares under the influence of the Korean Plain Pottery tradition.<ref>Mark Hudson. Ruins of Identity: Ethnogenesis in the Japanese Islands. University of Hawaii Press, 1999, p. 120</ref> Two basic kiln types — both still in use — were employed in Japan by this time. The bank, or climbing, kiln, of Korean origin, is built into the slope of a mountain, with as many as 20 chambers; firing can take up to two weeks. In the updraft, or bottle, kiln, a wood fire at the mouth of a covered trench fires the pots, which are in a circular-walled chamber at the end of the fire trench; the top is covered except for a hole to let the smoke escape. |
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In the 17th century CE, Koreans brought the art of ] to Japan.<ref>Emmanuel Cooper, 10,000 Years of Pottery, 2010, University of Pennsylvania Press, p.79</ref> Korean potters also established the ], ], ], ], ], ] and Yatsushiro kilns in Japan.<ref> News - Washington Oriental Ceramic Group (WOCG) : Newsletter {{quote|''In Japan Korean potters were given land and soon created new, advanced kilns in Kyushu -- Karatsu, Satsuma, Hagi, Takatori, Agano and Yatsushiro.''}}</ref><ref name="The Metropolitan Museum of Art">] {{quote|''1596 Toyotomi Hideyoshi invades Korea for the second time. In addition to brutal killing and widespread destruction, large numbers of Korean craftsmen are abducted and transported to Japan. Skillful Korean potters play a crucial role in establishing such new pottery types as Satsuma, Arita, and Hagi ware in Japan. The invasion ends with the sudden death of Hideyoshi.''}}</ref> |
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==== Satsuma ware ==== |
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{{See also|Satsuma ware}} |
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It is documented that during ] (1592–1598) Japanese forces abducted a number of Korean craftsmen and artisans, among them a disputed number of potters. Regardless of the number, it is undisputed that at least some Korean potters were forcibly taken to Japan from Korea during the invasions, and that it is the descendants of these potters who produced Satsuma ware.<ref>], paragraph 1</ref> |
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=== Shipbuilding === |
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The ancient Japanese learned ] techniques under the direction of Korean engineers from the kingdom of ].<ref>Dorothy Perkins. Japanese history and culture, from abacus to zori. Facts on File, 1991, p.313</ref><ref>Nihon Yunesuko Kokunai Iinkai. Japan: its land, people and culture. Print. Bureau, Ministry of Finance, 1964</ref>{{Page needed|date=October 2014}} |
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An immigrant group 'the Inabe', closely associated with shipbuilding, was made up of carpenters who had come to Japan from Silla.<ref name="Shōtoku">Michael Como. Shōtoku: Ethnicity, Ritual, and Violence in the Japanese Buddhist Tradition. Oxford University Press, 2008, p.173</ref><ref>Michael Como. Weaving and Binding: Immigrant Gods and Female Immortals in Ancient Japan. University of Hawaii Press, 2009, p.92</ref><ref>]sha, Kenzō Tange, Noboru Kawazoe. Ise, prototype of Japanese architecture. M.I.T. Press, 1965</ref>{{Page needed|date=October 2014}} |
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In the 9th century, conditions of sea travel from Japan to Tang dynasty of China improved because the relations with ] were now such that Japanese could take advantage of Korean ships, which were better built and better handled than their own.<ref name="Samson1958">George Sansom, Sir George Bailey Sansom. A History of Japan to 1334. Stanford University Press, 1958, p. 137</ref> Evidently, the ] suggests that Koreans were active in the international trade in the late Silla period and were considered the best sailors with the best ships of the day.<ref name=" Mark Peterson, 2010">p. 46, Mark Peterson, Phillip Margulies (2010) referencing Edwin O. Reischauer. Ennin’s Diary: The record of Pilgrimage to China in Search the Law. New York: Ronald Press, 1955</ref><ref>Australia. Commonwealth Office of Education. Hemisphere, Volume 26. Commonwealth Office of Education, 1981, p.174</ref> The monk ] noted Sillan vessels not only in a Japanese harbor or traversing the ] but also carrying cargoes of charcoal from Shandong to ] within China.<ref>Pratapaditya Pal, Julia Meech, Julia Meech-Pekarik. Buddhist book illuminations. Ravi Kumar Publishers, 1988, p.262</ref><ref>Patricia Buckley Ebrey, Anne Walthall, James Palais. East Asia: A Cultural, Social, and Political History. Wadworth cengage Learning, 2009, p.109</ref> At this time, the Japanese also recognized the superiority of Korean shipbuilding,<ref name="Samson1958"/> as we know of the Japanese ] as well as student monks preferred to abandon their Japanese ships by obtaining ships constructed from Silla and also from orders sent in 839 by the Japanese court instructing ] that the new ship should be built to the specifications of ''Silla Ships'' to stand up the storms.<ref name="ZhenpingWang2005">Zhenping Wang. Ambassadors from the Islands of Immortals: China-Japan Relations in the Han-Tang period. University of Hawaii Press, 2005, p.79</ref> |
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=== Navigation === |
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Ancient Koreans were commercially active throughout East Asia, and their mastery of ] allowed them to pursue trade interests as far away as the ].<ref>Louis D. Hayes. Political Systems of East Asia: China, Korea, and Japan. M.E. Sharpe, 2012, p.85</ref> In 526, a Baekje Korean monk Gyeomik traveled to India via the southern sea route and mastered ], specializing in ] studies. He came back with a collection of Vinaya texts to Baekje, accompanied by the Indian monk Paedalta(Vedatta).<ref>Robert E. Buswell. Tracing Back the Radiance: Chinul's Korean Way of Zen. University of Hawaii Press, 1983, p.6</ref> During the ], whence students traveled to ] China in ships guided by the mariner's ], in order to gain the knowledge of Chinese ethics and philosophy.<ref>A cyclopedia of education. The MacMillan Company, 1918</ref>{{Page needed|date=October 2014}} |
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In the 9th century, Japanese had not mastered the skill and knowledge necessary for safe ocean navigation in their part of the world.<ref name="ZhenpingWang2005"/><ref>Edwin O. Reischauer. Ennin's travels in Tʻang China. Ronald Press Company, 1955, p. 60</ref> Consequently, the Japanese monk-traveler Ennin tended to rely on the Korean sailors and traders on his travels,<ref name="Mark Peterson, 2010"/> at the time when the men of Silla were the master of the seas achieving Korean maritime dominance in eastern Asia.<ref>Edwin O. Reischauer. Ennin’s Diary: The record of Pilgrimage to China in Search the Law. New York: Ronald Press, 1955</ref>{{Page needed|date=October 2014}} <ref>The McGraw-Hill Encyclopedia of World Biography: An International Reference Work, Volume 2. McGraw-Hill, 1973, p.479</ref><ref>William Theodore De Bary. Sources Of East Asian Tradition: Premodern Asia, Volume 1. Columbia University Press, 2008, p.529</ref> The monk ]’s crossing to China on Japanese vessels and the whole catastrophic maritime record of the mission contrast sharply with the speed and efficiency with which Sillan ships quickly brought him back home to Japan.<ref name="Reischauer,1955">Edwin O. Reischauer. Ennin's travels in Tʻang China. Ronald Press Company, 1955, pp. 276-283</ref> Another indication of the gap in navigation skill between the Sillans and Japanese at this time was the employment by the ] of 60 Korean ] and sailors to help get the main party safely home.<ref name="Reischauer,1955"/> |
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==== Maritime trade ==== |
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It seems that ] between East China, Korea and Japan was, for the most part, in the hands of men from Silla,<ref name="Reischauer,1955"/> accompanied by Silla Korean hegemony over the maritime commerce of East Asia.<ref>Moshe Y. Sachs. Worldmark encyclopedia of the nations, Volume 1-5. Worldmark Press, 1984, p.176</ref> Here in the relatively dangerous waters on the eastern fringes of the world, the Koreans performed the same functions as did the traders of the calm ] on the western fringes.<ref name="Reischauer,1955"/> |
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The ] is a great Japanese reservoir of the Oriental art of the 7th and 8th centuries when the art and culture of Asia reached the height of its development.<ref>Jirō Harada. The Shōsōin: an eighth century repository. Mayuyama, 1950, p.13</ref> Among the Shōsōin treasures at Todai-ji in ] there are more than 20 sheets of purchase orders (one dated as early as 752), indicating that the favorite luxury goods they imported from Korean Silla included perfume, medicine, cosmetics, fabric dying materials, metallic goods, musical instruments, carpets, and measuring tools.<ref name="NaraNationalMuseum,2002">Catalogue of the Exhibition of Shoso-in Treasures. Nara National Museum of Japan, 2002</ref> Some were made in Silla; Others were of foreign origin, probably from ], India or ].<ref name="NaraNationalMuseum,2002"/> |
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=== Fortifications === |
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Japanese archaeologists refer to Ono Fortress, Ki Fortress, and the rest as ]. Because of their close resemblance to the structures built on the peninsula during the same general period. The resemblance is not coincidental. The individuals credited by Chronicles of Japan for building the fortress were all former subjects of the ancient Korean Baekje Kingdom.<ref>Bruce Loyd Batten. Gateway to Japan: Hakata in War And Peace, 500-1300. University of Hawaii Press, 2006, pp.27-28</ref> Especially throughout ], Japanese appears to have favored Baekje fortification experts from the immigrant kinship groups, putting their superior technical skills to use in fortifying Japan against a possible foreign invasion.<ref>Michael Como. Shōtoku: Ethnicity, Ritual, and Violence in the Japanese Buddhist Tradition , 2008, p. 26</ref> |
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=== Movable type printing === |
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Though the ] operated a Western ] ] in ], ], printing equipment<ref name="Lane">] (1978). "Images of the Floating World." Old Saybrook, CT: Konecky & Konecky. P. 33.</ref> with many Korean technicians and their fonts brought back by ]'s army in 1593 from Korea to Japan was starting of its own ].<ref>],Tsien Tsuen-Hsuin. Science and Civilisation in China: Volume 5, Chemistry and Chemical Technology. Cambridge University Press, 1985, p.327</ref> That same year, a Korean printing press with movable type was sent as a present for the Japanese Emperor ]. The emperor commanded that it be used to print an edition of the Confucian ''Kobun Kokyo'' (Classic of Filial Piety).<ref name=" Donald Keene 1978">Donald Keene. Japanese Literature of the Pre-Modern Era, 1600-1867. Grove Press: distributed by Random House, 1978, p.3</ref> Four years later in 1597, a Japanese version of the Korean printing press was built with wooden instead of metal type, and in 1599 this press was used to print the ] (Chronicles of Japan).<ref name=" Donald Keene 1978"/> |
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== Science == |
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During the reign of the Japanese ], a Korean ] and several kinds of ] were sent from ] to Japan to help avert the dread disease.<ref name="Mircea Eliade">Mircea Eliade, Charles J. Adams. The Encyclopedia of religion, Volume 9. Macmillan, 1987</ref>{{Page needed|date=October 2014}} {{clarify|date=October 2014}} Baekje buddhist priest and physician<ref>Encyclopaedia of Asian civilizations, Volume 3. L. Frédéric, 1977, p.156</ref> ] came in the reign of the Japanese ], and brought books on ], ] and ], which led to use of the calendar in Japan,<ref>], Volume 54. Sophia University(Jōchi Daigaku), 1999, p.13</ref> whereupon students were chosen to be educated in these sciences. He also taught ] to the young students selected by the Japanese imperial court.<ref>John Z. Bowers. Medical education in Japan: from Chinese medicine to western medicine. Hoeber, 1965, p.3</ref> |
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== Music == |
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== Music == |
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In the field of Korean and Japanese music history, it is well known that ancient Korea influenced ancient music of Japan.<ref>Vadime Elisseeff. The Silk Roads: Highways of Culture and Commerce. UNESCO, 2000, p.270</ref> Since the 5th century, musicians from Korea visited Japan with their music and instruments.<ref name="Lande2007">Liv Lande. Innovating Musical Tradition in Japan: Negotiating Transmission, Identity, and Creativity in the Sawai Koto School. University of California, 2007, pp.62-63</ref> ], literally "music of Korea", refers to the various types of Japanese court music derived from the ] later classified collectively as ''Komagaku''.<ref>Denis Arnold. Oxford Companions Series The New Oxford Companion to Music. Oxford University Press, 1983, p.968</ref> It is made up of purely instrumental music with wind- and stringed instruments(became obsolete), and music which is accompanied by mask dance. Today, Komagaku survives only as ] accompaniment and is not usually performed separately by the ].<ref>University of California, Los Angeles. Festival of Oriental music and the related arts. Institute of Ethnomusicology, 1973, p.30</ref> |
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In the field of Korean and Japanese music history, it is well known that ancient Korea influenced ancient music of Japan.<ref>Vadime Elisseeff. The Silk Roads: Highways of Culture and Commerce. UNESCO, 2000</ref> Since the 5th century, musicians from Korea visited Japan with their music and instruments.<ref name="Lande2007">Liv Lande. Innovating Musical Tradition in Japan: Negotiating Transmission, Identity, and Creativity in the Sawai Koto School. University of California, 2007</ref> ], literally "music of Korea", refers to the various types of Japanese court music derived from the ] and northern Korean state of ],<ref>Benito Ortolani, Japanese theater in the world. Japan Foundation, 1997</ref> later classified collectively as ''Komagaku''.<ref>Denis Arnold. Oxford Companions Series The New Oxford Companion to Music. Oxford University Press, 1983</ref> It is made up of purely instrumental music with wind- and stringed instruments(became obsolete), and music which is accompanied by mask dance. Today, Komagaku survives only as ] accompaniment and is not usually performed separately by the ].<ref>University of California, Los Angeles. Festival of Oriental music and the related arts. Institute of Ethnomusicology, 1973</ref> |
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===Instruments=== |
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===Instruments=== |
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Some instruments in traditional Japanese music originated in Korea: ] is a six-hole traverse flute of Korean origin.<ref name="Malm2000">William P. Malm. Traditional Japanese Music and Musical Instruments. Kodansha International, 2000</ref> It is used to perform Komagaku and ''Azuma asobi''<ref>Ben no Naishi, Shirley Yumiko Hulvey, Kōsuke Tamai. Sacred rites in moonlight. East Asia Program Cornell University, 2005</ref>(chants and dances, accompanied by an ensemble pieces). ] is an hourglass-shaped drum of Korean origin.<ref name="Malm2000"/><ref>Shawn Bender, Taiko Boom: Japanese Drumming in Place and Motion. University of California Press, 2012</ref> The drum has two heads, which are struck using a single stick. It is played only in Komagaku. |
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As early as the 5th century the ''Kudaragoto'', which resembles the western harp, had been introduced from Baekje to Japan along with Korean music. It has twenty three strings, and was designed to be played in an upright position.<ref>Charles A. Pomeroy. Traditional crafts of Japan. Walker/Weatherhill, 1968</ref>{{Page needed|date=October 2014}} And the 12-string long zither ''Shiragigoto'' was introduced as early as 5th or 6th century from Silla to Japan.<ref name="Lande2007"/> However, today, the two instruments has fallen out of use by traditional music performers. |
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Some instruments in traditional Japanese music originated in Korea: ] is a six-hole traverse flute of Korean origin.<ref>William P. Malm. Traditional Japanese Music and Musical Instruments. Kodansha International, 2000, p.109</ref> It is used to perform Komagaku and ''Azuma asobi''<ref>Ben no Naishi, Shirley Yumiko Hulvey, Kōsuke Tamai. Sacred rites in moonlight. East Asia Program Cornell University, 2005, p.202</ref>(chants and dances, accompanied by an ensemble pieces). ] is an hourglass-shaped drum of Korean origin.<ref>William P. Malm. Traditional Japanese Music and Musical Instruments. Kodansha International, 2000, p.93</ref><ref>Shawn Bender, Taiko Boom: Japanese Drumming in Place and Motion. University of California Press, 2012, p.27</ref> The drum has two heads, which are struck using a single stick. It is played only in Komagaku. |
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== Literature == |
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] was a famous ] in eighth-century Japan, who immigrated from Korean ].<ref name="miller 1984 705 708">Miller, Roy. Yamanoe Okura, a Korean Poet in Eighth-Century Japan, 1984. Journal of the American Oriental Society 104 (4): pp.703–726.</ref><ref>Takashi Kojima. Written on water: five hundred poems from the Manýōshū. Tuttle, 1995, p.131</ref><ref>Mary Ellen Snodgrass. Encyclopedia of the Literature of Empire. Infobase Publishing, 2010, p.323</ref> Influenced by the ] of Buddhism growing out of his former Baekje cultural heritage,<ref name="miller 1984 705 708"/> he addressed social concerns through his poem,<ref>Karen Thornber. Harvard University Traveling Home: The Poetry of Yamanoue no Okura, 1999. Abstracts of the 1999. AAS Annual Meeting March 11–14, Boston, MA</ref> unlike other Japanese poets of the time, who spoke for the ] of land, love, death and devine monarchy.<ref>Edwin A, Cranston. A Waka Anthology: Volume One: The Gem-Glistening Cup, 1993, p.344</ref> He later became a tutor to the crown prince and Governor of a province in Japan.<ref name="miller 1984 705 708"/> The reputation of Yamanoue no Okura has sharply risen in the twentieth century,<ref>Barbara Stoler Miller. Masterworks of Asian Literature in Comparative Perspective: A Guide for Teaching. M.E. Sharpe, 1994, p.368</ref> “he became, in the general consensus of sub-sequent centuries of Japanese literary scholarship, one of the most memorable, most influential, and today most often cited poets of the Old Japanese period.”<ref name="miller 1984 705 708"/> |
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] describing the foundation of the ] sect in ] and the life of two Korean monks of the sect, ] and ].<ref name="LouisFrédéric2002"/>]] |
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== Religion == |
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During the ] of Japan, scholars and monks from the Korean kingdom of ] served both as teachers and as advisers to Japan's rulers.<ref name="Kodansha encyclopedia of Japan"/> In 552, King ] introduced to Japan a laudatory memorial consisting of the teachings of Buddhism, an image of ] in gold and copper and several volumes of the "]s".<ref>Jon Carter Covell 1986, pp. 44-45</ref> After the initial entrance of some craftsmen, scholars, and artisans from Baekje, ] requested Korean men who were skilled in divination, calendar making, medicine and literature.<ref name="Mircea Eliade"/><ref>Jon Carter Covell 1986, p. 46.</ref> During the 6th century, ] went to great lengths to promote Buddhism in Japan with the help of the ], ], and ] kingdoms of ancient Korea.<ref>Jon Carter Covell 1986, p. 47.</ref> |
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== Law == |
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Korean influence on Japanese laws is also attributed to the fact that Korean immigrants were on committees that drew up law codes. There were Chinese immigrants who were also an integral part in crafting Japan's first laws. Eight of the 19 members of the committee drafting the Taihō Code were from Korean immigrant families while none were from China proper. Furthermore, the structuring of local administrative districts and the tribute tax are based on Korean models.<ref>{{cite book| url=http://books.google.com/books?ie=UTF-8&vid=ISBN0824820304&id=dCNioYQ1HfsC&vq=yamato+paekche&dq=kofun+tumuli+korea&lpg=PA104&pg=PA105&sig=3Me7_8p9Tdh1KAYJFUpG7L-Q8ho| title=Sacred Texts and Buried Treasures: Issues on the Historical Archaeology of Ancient Japan| first=William Wayne| last=Farris| pages=105| isbn=0-8248-2030-4| publisher=University of Hawaii Press}}</ref> |
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==Writing systems== |
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===Man'yōgana=== |
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The Koreans were indeed among the first to adapt Chinese characters for phonetic purposes, producing ], ], and ], who deviced probably the model of the Japanese ] syllabaries.<ref>Earl Roy Miner, Hiroko Odagiri, Robert E. Morrell. The Princeton Companion to Classical Japanese Literature. Princeton University Press, 1985, p.20</ref> The immigrant scholars from Korea were heavily involved in early writing activity in Japan using ] orthography, ].<ref>Christopher Seeley. A History of Writing in Japan. ], 1991, p.23</ref> |
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And it seems that most linguists in this field tend to accept that Man'yōgana came from ancient Korea or more precisely from Baekje.<ref>John R. Bentley. The origin of man'yōgana. Northern Illinois University, 2001, p. 62</ref> |
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Furthermore, some Japanese linguists also suggest that the ] system may have influenced by Korea's ancient writing system. ](1872-1967), former Professor of ] is of the opinion that the Japanese Katakana were borrowed from Korea.<ref>Korea journal, Volume 9. Korean National Commission for UNESCO, 1969, p.7</ref> Kobayashi Yoshinori, Professor at ] has discovered, in a Korean Buddhist text introduced to Japan in the early eighth century, letters that look like Katakana.<ref> ]. Katakana system may be Korean, professor says. ], 2002.</ref> He said that the newly discovered Silla scripts, written in 740, may have acted as a source for the origins of Japanese scripts, Kana. He guessed that Silla scripts was imported into Japan, along with Buddha texts during the Nara period.<ref>Jawaharlal Nehru University. Centre for Japanese and North East Asian Studies. East Asian Literatures: Japanese, Chinese and Korean : an Interface with India. Northern Book Centre, 2006, p.177</ref> |
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===Jindai moji=== |
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], "the god age script," was claimed by a ] scholar in the 13th century that Japan had had its own system of writing before the introduction of Chinese characters, and this idea was taken up by several scholars of nationalists persuasion in the ] who produced samples of the script to support their claims.<ref name="Kornicki1998">Peter Francis Kornicki. The Book in Japan: A Cultural History from the Beginnings to the Nineteenth Century. Brill Publishers, 1998, p.269</ref> The discoveries of many varieties oí Jindai moji, during the late Tokugawa period, were forgeries done by ] scholars, who were feeling embarraced about adopting and adapting scripts from other cultures and unwilling to acknowledge that writing was one of the many of cultural appurtenances for which Japan was at first dependent on China and Korea.<ref name="Kornicki1998"/><ref name="Taylors1995">Insup Taylor, Maurice Martin Taylor. Writing and Literacy in Chinese, Korean, and Japanese. John Benjamins Publishing Company, 1995, p.295</ref> Ironically, several Jindai moji, modeled on the Korean alphabet ], are identical in shape and sound values to their Hangul models, and others are distorted versions.<ref name="Taylors1995"/> |
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==Imperial family== |
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According to the {{Nihongo|]|続日本紀}}, ], background of the naturalized clansmen {{Nihongo|]|和史}}, was a 10th-generation descendant of ] of Baekje who was chosen as a ] for ] and subsequently became the mother of ].<ref name="The Emperor's New Roots">{{cite news|last=Watts|first=Jonathan|title=The Emperor's New Roots|url=http://www.guardian.co.uk/world/2001/dec/28/japan.worlddispatch|accessdate=2012-06-11|newspaper=The Guardian|date=Dec 28, 2001|quote = "I, on my part, feel a certain kinship with Korea, given the fact that it is recorded in the Chronicles of Japan that the mother of Emperor Kammu was of the line of King Muryong of Paekche," told reporters.}}</ref><ref name="Shoku Nihongi Vol 40">{{Cite book |
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| editor = ] |
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| editor2 = ] |
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| year = 797 |
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| title = 続日本紀 (Shoku Nihongi) |
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| volume = 40 |
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| language = Japanese |
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| url =http://nihonshoki.s317.xrea.com/sh37_40.html |
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| accessdate = 2012-06-11 |
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| quote = 壬午。葬於大枝山陵。皇太后姓和氏。諱新笠。贈正一位乙継之女也。母贈正一位大枝朝臣真妹。后先出自百済武寧王之子純陀太子。皇后容徳淑茂。夙著声誉。天宗高紹天皇竜潜之日。娉而納焉。生今上。早良親王。能登内親王。宝亀年中。改姓為高野朝臣。今上即位。尊為皇太夫人。九年追上尊号。曰皇太后。其百済遠祖都慕王者。 |
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| postscript = <!-- Bot inserted parameter. Either remove it; or change its value to "." for the cite to end in a ".", as necessary. -->}}{{inconsistent citations}}</ref> It has been theorized that the Japanese imperial line has Korean ancestry. As reported in ], Walter Edwards, professor of Japanese studies at Tenri University in Nara, states that "Blood links between Korea and the Japanese imperial family are documented from the eighth century. Even the current emperor has said that he has Korean ancestry." <ref name=natgeo> Tony McNicol. Japanese Royal Tomb Opened to Scholars for First Time. National Geographic News, 2008</ref> Since 1976, foreign archaeologists have been requesting access to the Gosashi tomb which is supposed to be the resting place of Emperor Jingu, but these requests have been denied.<ref name=natgeo/> In 2008, Japan gave foreign archaeologists limited access to the site, but without allowing any excavation. As National Geographic wrote, Japan "''has kept access to the tombs restricted, prompting rumors that officials fear excavation would reveal bloodline links between the "pure" imperial family and Korea''"<ref name=natgeo/> |
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==See also== |
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==See also== |
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{{Portal|Korea|Japan}} |
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* {{cite web|publisher=BC Culture |url=http://blogcritics.org/archives/2005/08/11/090643.php |title=Review: Brighter than Gold - A Japanese Ceramic Tradition Formed by Foreign Aesthetics |author=Purple Tigress |accessdate=2008-01-10 |date=August 11, 2005|ref=PurpleTigress}}. |
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* {{cite web|publisher=BC Culture |url=http://blogcritics.org/archives/2005/08/11/090643.php |title=Review: Brighter than Gold - A Japanese Ceramic Tradition Formed by Foreign Aesthetics |author=Purple Tigress |accessdate=2008-01-10 |date=August 11, 2005|ref=PurpleTigress}}. |
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* {{cite web|title=Asuka Buddhist Art: Hōryū-ji|publisher=Weatherhill, New York|author=Mizuno, Seiichi|year=1974|ref=Mizuno1974}} |
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* {{cite web|title=Asuka Buddhist Art: Hōryū-ji|publisher=Weatherhill, New York|author=Mizuno, Seiichi|year=1974|ref=Mizuno1974}} |
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* {{cite web|url=http://www.metmuseum.org/toah/ht/08/eaj/ht08eaj.htm |title=Japan, 1400–1600 A.D. |publisher=]| month=October | year=2002|accessdate=2010-02-15|ref=Met}} |
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* {{cite web|url=http://www.metmuseum.org/toah/ht/08/eaj/ht08eaj.htm |title=Japan, 1400–1600 A.D. |publisher=]|date=October 2002|accessdate=2010-02-15|ref=Met}} |
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* {{cite web|url=http://www.metmuseum.org/toah/hd/yayo/hd_yayo.htm |title=Yayoi Culture (ca. 4th century B.C.–3rd century A.D.) |publisher=]| accessdate=2010-02-15|ref=Met2}} |
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* {{cite web|url=http://www.metmuseum.org/toah/hd/yayo/hd_yayo.htm |title=Yayoi Culture (ca. 4th century B.C.–3rd century A.D.) |publisher=]| accessdate=2010-02-15|ref=Met2}} |
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* {{cite web|publisher=E-museum, Minnesota State University|title=Yayoi Era|location=Mankato, MN, U.S.A.| url=http://www.mnsu.edu/emuseum/prehistory/japan/yayoi/yayoi.html| accessdate=2010-02-15|ref=MNSU}} |
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* {{cite web|publisher=E-museum, Minnesota State University|title=Yayoi Era|location=Mankato, MN, U.S.A.| url=http://www.mnsu.edu/emuseum/prehistory/japan/yayoi/yayoi.html| accessdate=2010-02-15|ref=MNSU}} |
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* {{cite web|publisher=japan-guide.com|title=Japanese History: Jomon, Yayoi, Kofun: Early Japan (until 710)|url=http://www.japan-guide.com/e/e2131.html|accessdate=2010-02-15|ref=JapanGuide}} |
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* {{cite web|publisher=japan-guide.com|title=Japanese History: Jomon, Yayoi, Kofun: Early Japan (until 710)|url=http://www.japan-guide.com/e/e2131.html|accessdate=2010-02-15|ref=JapanGuide}} |
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* {{cite web|publisher=Ronald Press Company |title=Ennin's travels in Tʻang China |author=] |accessdate=2008-01-10 |year=1955|ref=Reischauer,1955}} |
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* {{cite web|publisher=Asia Society Museum|title=Asia Society - The Collection in Context|url=http://www.asiasocietymuseum.com|ref=AsiaSoc}} |
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* {{cite web|publisher=Asia Society Museum|title=Asia Society - The Collection in Context|url=http://www.asiasocietymuseum.com|ref=AsiaSoc}} |
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* {{cite web|title=Pottery - MSN Encarta <!-- BOT GENERATED TITLE -->|url=http://encarta.msn.com/encyclopedia_761568150_4/Pottery.html|work=|archiveurl=http://www.webcitation.org/query?id=1257012851343397|archivedate=2009-10-31|deadurl=yes|ref=Encarta}} |
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* {{cite news|newspaper=New York Times, The|title=Japan and Korean Influences.|date=1901-07-07|url=http://query.nytimes.com/gst/abstract.html?res=9A05E0D91139E733A25754C0A9619C946097D6CF|at=Magazine supplement|ref=NYT1901}} (first paragraph only. PDF scan of full article here: ) |
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* {{cite news|newspaper=New York Times, The|title=Japan and Korean Influences.|date=1901-07-07|url=http://query.nytimes.com/gst/abstract.html?res=9A05E0D91139E733A25754C0A9619C946097D6CF|at=Magazine supplement|ref=NYT1901}} (first paragraph only. PDF scan of full article here: ) |
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* {{cite news|newspaper=New York Times, The|title=Japanese Art and Its Korean Secret|first=Holland|last=Cotter|date=2003-04-06|url=http://www.nytimes.com/2003/04/06/arts/art-architecture-japanese-art-and-its-korean-secret.html?pagewanted=1|archivedate=an unknown date|archiveurl=http://www2.kenyon.edu/Depts/Religion/Fac/Adler/Reln275/Jap-Kor-art.htm|ref=NYTArts}} |
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* {{cite news|newspaper=New York Times, The|title=Japanese Art and Its Korean Secret|first=Holland|last=Cotter|date=2003-04-06|url=http://www.nytimes.com/2003/04/06/arts/art-architecture-japanese-art-and-its-korean-secret.html?pagewanted=1|archivedate=an unknown date|archiveurl=http://www2.kenyon.edu/Depts/Religion/Fac/Adler/Reln275/Jap-Kor-art.htm|ref=NYTArts}} |
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* {{cite news|newspaper=National Geographic News|url=http://news.nationalgeographic.com/news/2008/04/080428-ancient-tomb.html|title=Japanese Royal Tomb Opened to Scholars for First Time|first=Tony|last=McNicol|date=2008-04-20|ref=NatGeo}} |
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* {{cite news|newspaper=National Geographic News|url=http://news.nationalgeographic.com/news/2008/04/080428-ancient-tomb.html|title=Japanese Royal Tomb Opened to Scholars for First Time|first=Tony|last=McNicol|date=2008-04-20|ref=NatGeo}} |
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* {{cite book|author=] |title=Epochs of Chinese and Japanese Art: An Outline History of East Asiatic Design |publisher=] |year=1912}} |
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* {{cite book|author=] |title=Epochs of Chinese and Japanese Art: An Outline History of East Asiatic Design |publisher=] |year=1912}} |
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* {{cite book|title=Korean Impact on Japanese Culture: Japan's Hidden History|last=Covell|first=Jon Etta Hastings Carter|last2=Covell|first2=Alan Carter|date=1986-12-01|edition=2001|publisher=Hollym International Corporation|location=Elizabeth, New Jersey, U.S.A.|ref=KoreanImpact2001}} |
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* {{cite book|title=Korean Impact on Japanese Culture: Japan's Hidden History|last=Covell|first=Jon Etta Hastings Carter|last2=Covell|first2=Alan Carter|date=1986-12-01|publisher=Hollym International Corporation|location=Elizabeth, New Jersey, U.S.A.|ref=KoreanImpact1984}} |
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* {{cite book|title=The Arts of Japan: Late Medieval to Modern|author=Seiroku Noma|editor=(translated by) Glenn T. Webb|location=New York City, New York, U.S.A.|publisher=Kodansha America|year=1966|edition=Paperback, 2003|ref=ArtsOfJapan}} |
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* {{cite book|title=The Arts of Japan: Late Medieval to Modern|author=Seiroku Noma|editor=(translated by) Glenn T. Webb|location=New York City, New York, U.S.A.|publisher=Kodansha America|year=1966|edition=Paperback, 2003|ref=ArtsOfJapan}} |
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* {{cite book|title=Early Buddhist architecture in Japan|publisher=Kodansha International|author=Kakichi Suzuki|year=1980|ref=BuddhistArchitectJpn}} |
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* {{cite book|title=Early Buddhist architecture in Japan|publisher=Kodansha International|author=Kakichi Suzuki|year=1980|ref=BuddhistArchitectJpn}} |
In the field of Korean and Japanese music history, it is well known that ancient Korea influenced ancient music of Japan. Since the 5th century, musicians from Korea visited Japan with their music and instruments. Komagaku, literally "music of Korea", refers to the various types of Japanese court music derived from the Three Kingdoms of Korea and northern Korean state of Balhae, later classified collectively as Komagaku. It is made up of purely instrumental music with wind- and stringed instruments(became obsolete), and music which is accompanied by mask dance. Today, Komagaku survives only as dance accompaniment and is not usually performed separately by the Japanese Imperial Household.
