Sample Research Paper

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Korean art is frequently described as vibrant, spontaneous, energetic, and sometimes fanciful. Definitely, such characteristics apply to many of the most idiosyncratic works of art produced in Korea, particularly the sculpted pottery vessels of the Paekche period Yet, the breadth of Korean culture and the versatile skills of Korean artists and artisans are evenly manifested in the Buddhist paintings and illustrated sutras, metalwork, lacquerware, beautiful gold ornaments, and celadon wares produced for the court, nobility, and religious establishments during the Three Kingdoms, Unified Silla,  which reflect the refinement and sophistication that are characteristic of the highest-quality East Asian art  From the early Iron Age until the surfacing of Confederated kingdoms in the first to third centuries A.D., the Korean peninsula underwent further significant changes.

Historical Background: Coming of the Chinese and evolution of the Three Kingdoms

The most developed Korean state at the time, which was perhaps a tribal alliance, was Old Chosôn, situated northeast of present-day Manchuria. Archaeological evidence proposes that this polity emerged around the fourth century B.C. One of the last rulers of this state, Wiman, seized power in the second century B.C. Less than a century after Wiman’s rise to power, Korea was for the first time subjected to Chinese hostility and direct political control. After the Han dynasty (206 B.C.–220 A.D.) conquered Wiman Chosôn in 108 B.C., Chinese officials found four military outposts in the northern part of the peninsula, the largest of which was Nangnang (Chn. Lelang), near modern Pyongyang, which was to remain a Chinese colonial bastion for over four hundred years. The other three frontiers were abolished within thirty years of their establishment owing to the confrontation of the local Korean population.

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