A bronze head of Buddha, Early Goryeo dynasty｜高麗王朝早期　青銅佛首

Tokyo Olymipic Kinen Kobijutsu Meihin zuroku [Tokyo Olympic Memorial Masterpieces of antiquities], Fugendo, 1964, Tokyo, cat. no. 94.

Kaikan Tokubetsu Shuppin Seihin Senshu [Special Opening Exhibition - Anthology of Selected Masterpieces], Kyushu National Museum, Fukuoka, 2005, cat. no. 31.

《東京オリンピック記念 古美術名品図録》(東京奧運紀念古董藝術名作圖錄)，不言堂，東京，1964年，編號94

《開館特別出品 精品選集》，九州国立博物館，福岡，2005年，編號31

Sekai Bijutsu Zenshu [Complete Series of World Fine Arts], vol. 18: Chosen [Korean], Tokyo, 1967, no. 64.

《世界美術全集》巻18：朝鮮，東京，1967年，編號64

The creative accomplishments of the Goryeo Dynasty (918-1392) are exemplified by this bronze head of Buddha, which captures the period's sophisticated culture and fervent religious devotion. The Goryeo dynasty was distinguished by a strong devotion to Buddhism that pervaded all societal levels, from royalty to commoners. It was noted for its integration and refinement of earlier cultural traditions with a pluralistic approach. Goryeo's founder, Taejo Wang Geon (877-943 AD), laid the groundwork for a patronage culture that strongly favoured Buddhist art when the dynasty was established. As a result of Wang Geon's influence as a patron, the arts were later supported by the elites of the Buddhist, aristocratic, and royal classes.

Goryeo artisans, under court patronage, strived to meet high standards, producing superb bronzes such as this Buddha head, which testifies to the era's artistic and technical finesse. Unlike this large-scale sculpture, Buddhist images were often portable and used for private worship, and made from various materials such as wood, lacquer, clay, stone, and metal. Most surviving examples from the Goryeo period are small bronze votive images and stone carvings due to the fragility of materials like wood and lacquer. This bronze Buddha head is therefore among the rarities that have endured the passage of time.

The present head of Buddha also exhibits the hallmarks of Goryeo Buddhist sculpture. The facial features are distinctly Korean, characterised by high cheekbones, a fine mouth, and long, narrow eyes set beneath full eyelids and arched eyebrows that meet gracefully at the bridge of the nose. The Buddha’s hair is composed of symmetrically small, shell-like curls, enveloping the ushnisha – the crown of the Buddha indicated by a cranial protuberance – which symbolises the Buddha’s “expanded wisdom” attained during enlightenment. It should also be noted that this Buddha head includes a small indentation in his forehead, which would have formerly held a jewel, emblematic of the third eye and locus of the Buddha’s divine perception. Such natural lines yet intricate detailing of the face reflects the principles of ornamental simplicity and meditative calm integral to Buddhist art, inviting viewers into contemplation and peace.

The serene and contemplative expression of this Buddha head, combined with meticulous attention to detail and craftsmanship, render this not only a significant cultural relic but also a representation of the artistic and spiritual heights attained during the Goryeo dynasty. Its existence today affirms the transcendental beauty and profound devotion that defined Goryeo's artistic legacy.

青銅佛首反映高麗王朝早期之宗教熱潮，與深厚文化精髓，彰顯當朝工藝成就。高麗時期，佛教大興，盛行於社會各階級，皇室貴族至販夫走卒皆是，信仰融合且精化前朝文化傳統，呈現多元樣貌。太祖王建（877-943年）創立高麗王朝，虔誠信奉佛教，為佛教藝術的發展奠基，並帶動皇室與權貴們對其之崇尚。 

朝廷大力支持下，佛教造像藝術精益求精，蓬勃發展，一如此像，展現工藝精湛，反映當時的審美。異於本尊碩大尺寸，多數高麗造像較小，方便攜帶及私人奉拜，材質可見木、漆、泥塑、石雕或金屬。存世高麗佛像，因木、漆作例材質脆弱，以小型銅佛與石雕為多，此青銅佛首，歷經歲月嬗遞，流傳至今，極為珍稀。

本像展現高麗佛造像特徵，顴骨高、唇形精巧，佛目修長，眼瞼寬厚，眉骨高弧與鼻樑相連。螺髮排列對稱，緻密覆蓋肉髻，象徵佛陀證道之無上智慧。額前白毫圓凹處，原應鑲嵌寶石，此乃佛之第三眼，象徵覺知力。法相描寫線條自然精練，風格簡素而安寧祥和，引導觀者靜心觀想。

青銅佛首，工藝細緻精妙，不僅為高麗王朝重要文物，代表當朝文藝精神，且展現高麗佛教造像藝術之高度。