What path should Buddhist art take between tradition and modernity? Sculptor Seo Chil-gyo, who is currently working on a large Buddha statue commissioned for Gyeryongsa Temple, says, “I do not confine myself to a specific genre. I focus on what is needed today.” From September 10 to 15, Seo held an exhibition at Gallery Eun (45-1 Insadong-gil, Seoul). The Buddha statues that emerge from his hands are not limited to objects of religious devotion. Instead, he regards them as a cultural and aesthetic experience that brings comfort to contemporary viewers. 

“In the past, Buddhism was bound by strict rules and rigidity. Today it is an open religion, allowing freedom of thought and personal expression. Through Buddha sculptures, I try to express my own aesthetic sensibility while also creating a beauty that can be shared with others,”  artist Seo explains.

Just as Buddhism, originating in India, evolved into distinct artistic forms in China, Japan, and Korea, Seo seeks to embody the sensibilities of contemporary Korean society in his sculptures. In his recent works, he particularly emphasizes the natural curves and volume of the human body. 

“In Buddhist sculpture, straight lines are almost never used. From the contours of the face to the folds of the robes and the fingertips, everything should flow in soft curves. When the lines connect seamlessly, like flowing water, the unique serenity and dignity of the Buddha emerges.” 

 His process begins with modeling in clay, followed by casting in bronze and iron. 

The finished statues take on a deep, reddish bronze hue. While the face, hands, and feet are refined with meticulous detail, the robes are left deliberately rougher, creating a contrast that enhances the work’s presence. 

“The face and hands are the essence of the Buddha — they must convey life. The robes, however, should flow more freely, giving the viewer a sense of ease and openness.” 

Seo likens the act of sculpting itself to meditation. “I don’t practice formal meditation programs. But when I immerse myself in sculpting, time disappears. That state of concentration is, in itself, a form of samadhi.” Raised in a Buddhist family, Seo studied sculpture at university and soon found his calling in Buddhist art. 

“I asked myself if my work could bring joy not only to me, but also to others. That is how I began sculpting Buddhas,” 

he recalls. Over the past 25 years, his practice has opened new horizons for Korean Buddhist art. A Philosophy of Happiness Beyond the artistic process, artist Seo emphasizes a simple but profound philosophy of life .

 “Happiness begins when you stop comparing yourself to others.  The moment you compare, unhappiness arises. When you focus inward and avoid comparisons, you gain self-respect and find true happiness.”

 Seo is currently working on a monumental Shakyamuni Buddha statue for Gyeryongsa Temple, expected to be completed in about a year. 

Over the years, he has also led numerous large-scale projects, including the Avalokiteshvara Hall at Jogyesa Temple, the 100 Avalokiteshvara Bodhisattvas, and the “108 Avalokiteshvaras” at Gilsangsa Temple in Changwon. 

Each work reflects his dedication to blending tradition with modern expression.