Abstract
This article explores Korean bronze mirrors of the Goryeo period (918–1392) adorned with images of bodhisattvas and other characters of the Buddhist pantheon. These artifacts represent a unique phenomenon in the decorative and applied arts of the Korean Peninsula, as sacred images were engraved directly on the reflective surface rather than the back. This distinctive feature transformed the mirrors from mere ritual objects into complex symbolic artifacts that combined artistic form with religious and philosophical meaning. The first part of the article examines the philosophical foundation of the mirror in Buddhism, including its metaphorical interpretation as the “mirror of the mind” in key texts such as the Platform Sutra and the Lankavatara Sutra. Special attention is given to Korean sources, particularly Memorabilia of the Three Kingdoms written by the monk Iryeon. The second part provides a detailed analysis of specific artifacts from the collection of the National Museum of Korea in Seoul, Republic of Korea. Notable examples include mirrors depicting Avalokiteshvara in the Water-Moon iconography, the bodhisattva Mahamayuri, and the Heavenly King Vaisravana. Their artistic features, such as iconography, composition, and connection to Goryeo painting traditions, are examined. A special focus is placed on the unique optical effect: when illuminated, these mirrors projected a luminous image, symbolizing the idea of Enlightenment as the interaction between the “light of Dharma” and the “pure mind”. The conclusion summarizes the role of these artifacts in Korean ritual practices and Buddhist art. It argues that Goryeo dynasty mirrors not only demonstrate the high craftsmanship of Korean decorative arts but also serve as tangible embodiments of Buddhist philosophical thought. The study provides deeper insight into the interplay of art, technology, and religious practice in Korean culture while filling gaps in the research on Korea's Buddhist heritage.
References
- Park, J.S. and Gordon, R.B. (2007) ‘Traditions and transitions in Korean bronze technology’, Journal of archaeological science, (34), pp. 1991–2002.
- Kim, W. (1986) Art and archaeology of ancient Korea. Seoul: Taekwang Pub. Co.
- Moes, R.J. (1987) Korean art from the Brooklyn Museum Collection. New York: Universe Books.
- McKillop, B. (1992) Korean art and design. London: The Victoria and Albert Museum.
- Pak, Y. (1998) ‘The Korean art collection in The Metropolitan Museum of Art’, in Smith, J.G. (ed.) Arts of Korea. New York: The Metropolitan Museum of Art, pp. 402–450.
- Lee, M. (2019) ‘Korean mirrors’, in Williams, A., Aggeklint, E. and Lee, M. (eds.) Treasures from the Bronze Age and beyond. The Hallwyl Museum’s Collection of small Chinese and Korean bronzes. Stockholm: Hallwyl Museum, pp. 102–107.
- Horlyck, C. (2005) Mirrors in Koryo society: their history, use and meanings. London: SOAS, University of London.
- Merrienboer, J. (2021) Bronze mirrors of the Goryeo Dynasty (913–1392 CE). How their iconography reflects their role in society. Leiden: Leiden University.
- Choi, K.J. and Park, J.S. (2004) ‘On the manufacturing technology of some Koryo bronze artifacts’, Journal of the Korean Society for Heat Treatment, 17(1), pp. 2–9. (In Korean)
- Bag Jingyeong (2021). Golyeo joseonsidae dong-gyeong (dong-gyeong) yeongu. seoul: hong-igdaehaggyo [Park, J. (2021) A study on bronze mirrors of Korea from the Goryeo to Joseon Periods. Seoul: Hong-ik University] (In Korean).
- Demenova, V.V. (2023) ‘Analysing works of Buddhist art: methodological aspects’, Vremennik Zubovskogo instituta = Annals of the Zubov institute, (1), pp. 173–184. (In Russ.)
- Abaev, N.V. (1983) Chan Buddhism and the psychic activity culture in Mediaeval China. Novosibirsk: Nauka. (In Russ.)
- McRae, J.R. (1989) ‘The Platform Sutra in religious and cultural perspective’, The Eastern Buddhist, 22(2), pp. 130–135. (In Russ.)
- Demiéville, P. (1987) ‘The mirror of the mind’, in Gregory, P.N. (ed.) Sudden and gradual: approaches to enlightenment in Chinese thought. Delhi: Motilal Banarsidass, pp. 13–40.
- Iryon (2018) Memorabilia of the Three Kingdoms (Samguk yusa). Saint Petersburg: Hyperion. (In Russ.)
- Woo, J. (2010) ‘The esoteric Buddhism ritual and bronze mirrors incised with Buddhist images in the Goryeo period’, Journal of Korean Association of Art History Education, (24), pp. 7–38.
- Elikhina, Yu.I. (2010) Cults of the main bodhisattvas and their earthly incarnations in the history and art of Buddhism. Saint Petersburg: Nestor-Istoriya. (In Russ.)
- Demenova, V.V. (2015) ‘Lightness and Light-Form in Buddhist Art (On the Statement of the Problem)’, Izvestia of the Ural federal university. Series 2. Humanities and Arts, (1), pp. 62–74. (In Russ.)



