Robert D. Mowry introduces the development of Korean Buddhist art from its formative phase in the late Three Kingdoms (57 bce–668 ce) and Unified Silla (668–935) periods through its maturation in the Goryeo dynasty (918–1392), emphasizing architecture and sculpture in the earlier periods and paintings and illuminated sutras in the later periods. Due to the ascendance of Neo-Confucianism, Buddhism fell into decline during the Joseon dynasty (1392–1910), so this lecture will only touch on the Buddhist art of Korea’s last dynasty. Korean Buddhist art drew inspiration from Chinese Buddhist art and thus relates closely to contemporaneous Chinese art. Even so, once they had fully mastered Chinese styles, aesthetics, and techniques, Korean artists typically transformed the subjects, formats, and styles adopted from China to meet their own aesthetic needs, thereby establishing distinctive Korean styles that reflect their Chinese origins but stand apart from them. In tracing the development of Korean Buddhist art, this lecture will explore relationships with China and will identify those characteristics that are uniquely Korean. In addition, Korea served as the bridge by which continental learning passed from China to Japan, particularly during Korea’s Three Kingdoms and Unified Silla periods. Indeed, not only do historical records relate that Buddhism was introduced to Japan from Baekje, one of Korea’s three kingdoms, but they document the importation of Buddhist sculptures from Korea into Japan and thus demonstrate the close artistic ties between early Korea and Japan.