New Perspectives on Early Korean Art: From Silla to Koryŏ presents the growing diversification of methods in the field of Korean art history. Moving beyond a nationalistic paradigm, the authors introduce approaches that enhance our understanding of Korean art in the global context by conducting cross-cultural and interdisciplinary analyses. This book provides Anglophone readers access to research findings of some of the most important and innovative scholarship in the field of Korean art history today. Chapters 1 and 4 were translated from Korean into English, and all chapters were thoroughly edited in English.

In chapter 1, Chung Woothak explores the stylistic and iconographic features of Buddhist paintings from the late Koryŏ (918–1392) and early Chosŏn (1392–1910) periods, using difficult-to-obtain photographs of the paintings as evidence, many of which he discovered during years of painstaking field research. This comprehensive overview is an indispensable resource for students of Buddhist art, to whom materials written in the Korean language are not accessible. By comparing Koryŏ paintings with paintings from the Song (960–1279), Yuan (1271–1368), and Xixia (1038–1227) periods, Chung makes an invaluable contribution to the study of intercultural connections and showcases the potential for future research.

In chapter 2, Rhi Juhyung investigates why Silla official Kim Chisŏng (650–720) commissioned a standing image of Maitreya instead of a seated figure in a pensive pose as was commonly produced in Silla Korea (57 BCE–935). Based on a thorough analysis of Chinese Buddhist texts, which were widely known in seventh- and eighth-century Korea, Rhi concludes that Kim commissioned the standing image after having envisioned the bodhisattva descending from Tuṣita Heaven. Rhi's study clearly shows that, although Silla elites were engaged in cross-cultural exchange and were aware of the latest continental trends in Buddhist iconography and style, they commissioned figures with iconographic traits that aligned more closely with their religious ideas.

In chapter 3, Kim Youn-mi provides a stratified analysis of an esoteric Buddhist ritual called munduru that was performed for state protection in Unified Silla (668–935) and Koryŏ Korea. Using an interdisciplinary examination of visual, textual, and archaeological sources, Kim adroitly reveals that the quotations cited in the Samguk yusa accurately preserve information from the original texts. Deriving her argument from various sources, Kim shows the need to enhance interdisciplinary collaboration between scholars from different disciplines, such as Buddhist studies and art history.

In chapter 4, Jang Namwon proves that not only Southern but also Northern Chinese ceramic traditions shaped the development of tenth- and eleventh-century Korean ceramics. The inlay technique, which became a popular feature of Koryŏ celadon in the twelfth century, is one such example. Based on archaeological evidence from recently excavated kiln sites in Korea, China, and Mongolia, Jang offers an innovative perspective on the history of Korean ceramics by uncovering a material culture and technology network that outlasted several centuries and dynasties, such as Wuyue (907–978), Northern and Southern Song (960–1279), Liao (916–1125), Jin (1125–1234), and Koryŏ (918–1392).

In chapter 5, Joo Kyeongmi analyzes Silla gold jewelry based on archaeological evidence and her fieldwork in Korea, Mongolia, and Southeast Asia. Joo argues that the motifs of tree, deer, and bird on Silla gold crowns reveal an intimate relationship between Silla and Eurasian cultures, while gold earrings suggest a connection with South Asian maritime cultures. Joo's compelling argument challenges the popular belief that the peninsula engaged in cultural exchanges with the northern part of Asia exclusively. Joo's research shows instead that Silla interacted with various cultures in northeast and southern Asia.

From start to finish, this book was a genuine pleasure to read. It is well written and exceptionally well organized. High-quality maps and illustrations allow readers to easily understand the authors' arguments. The translations in chapters 1 and 4 are impressively accurate with one notable exception. The translation of chagi as “porcelain” in chapter 4 might confuse some Anglophone readers, as the English definition of “porcelain” does not include stoneware and porcelaneous stoneware as does the East Asian definition of chagi.

In the emerging field of Korean art history, it is still rare to find books written in Western languages that present contemporary Korean scholarship. Therefore, New Perspectives on Early Korean Art: From Silla to Koryŏ is an indispensable resource for scholars, instructors, and students of Korean art history, Buddhist studies, and the history of material culture in East Asia.