Korean Buddhist art generally reflects an interaction between Chinese Buddhist influence and a strongly original Korean culture. Additionally, the art of the steppes, particularly Siberian and Scythian influences, are evident in early Korean Buddhist art based on the excavation of artifacts and burial goods such as Silla royal crowns, belt buckles, daggers, and comma-shaped gogok.

The style of this indigenous art was geometric, abstract and richly adorned with a characteristic "barbarian" luxury. Although Chinese influence was strong, Korean Buddhist art "bespeaks a sobriety, taste for the right tone, a sense of abstraction but also of colours that curiously enough are in line with contemporary taste" (Pierre Cambon, Arts asiatiques- Guimet').

Three Kingdoms of Korea

Bangasayusang, semi-seated contemplative Maitreya probably from Silla circa early 7th century.

The first of the Three Kingdoms of Korea to officially receive Buddhism was Goguryeo in 372.  However, Chinese records and the use of Buddhist motifs in Goguryeo murals indicate the introduction of Buddhism earlier than the official date. The Baekje Kingdom officially recognized Buddhism in 384. The Silla Kingdom, isolated and with no easy sea or land access to China, officially adopted Buddhism in 535 although the foreign religion was known in the kingdom due to the work of Goguryeo monks since the early fifth century.

The introduction of Buddhism stimulated the need for artisans to create images for veneration, architects for temples, and the literate for the Buddhist sutras and transformed Korean civilization. Particularly important in the transmission of sophisticated art styles to the Korean kingdoms was the art of the "barbarian" Tuoba, a clan of non-Han Chinese Xianbei people who established the Northern Wei Dynasty in China in 386. The Northern Wei style was particularly influential in the art of the Goguryeo and Baekje. Baekje artisans later transmitted this style along with Southern Dynasty elements and distinct Korean elements to Japan. Korean artisans were highly selective of the styles they incorporated and combined different regional styles together to create a specific Korean Buddhist art style

Seokguram Grotto is a World Heritage Site and dates to the Unified Silla era.

While Goguryeo Buddhist art exhibited vitality and mobility akin with Northern Wei prototypes, the Baekje Kingdom was also in close contact with the Southern Dynasties of China and this close diplomatic contact is exemplified in the gentle and proportional sculpture of the Baekje, epitomized by Baekje sculpture exhibiting the fathomless smile known to art historians as the Baekje smile.

The Silla Kingdom also developed a distinctive Buddhist art tradition epitomized by the Bangasayusang, a half-seated contemplative maitreya whose Korean-made twin, the Miroku Bosatsu, was sent to Japan as a proselytizing gift and now resides in the Koryu-ji Temple in Japan. Buddhism in the Three Kingdoms period stimulated massive temple-building projects, such as the Mireuksa Temple in the Baekje Kingdom and the Hwangnyongsa Temple in Silla. Baekje architects were famed for their skill and were instrumental in building the massive nine-story pagoda at Hwangnyongsa and early Buddhist temples in Yamato Japan such as Hoko-ji (Asuka-dera) Sixth century Korean Buddhist art exhibited the cultural influences of China and India but began to show distinctive indigenous characteristics. These indigenous characteristics can be seen in early Buddhist art in Japan and some early Japanese Buddhist sculpture is now believed to have originated in Korea, particularly from Baekje, or Korean artisans who immigrated to Yamato Japan.

 Particularly, the semi-seated Maitreya form was adapted into a highly developed Korean style which was transmitted to Japan as evidenced by the Koryu-ji Miroku Bosatsu and the Chugu-ji Siddhartha statues. Although many historians portray Korea as a mere transmitter of Buddhism, the Three Kingdoms, and particularly Baekje, were instrumental as active agents in the introduction and formation of a Buddhist tradition in Japan in 538 or 552.

Unified Silla Art

The Goryeo era Gyeongcheonsa Pagoda sits on the first floor of the National Museum of Korea.

During the Unified Silla period, East Asia was particularly stable with China and Korea both enjoying unified governments. Early Unified Silla art combined Silla styles and Baekje styles. Korean Buddhist art was also influenced by new Tang Dynasty styles as evidenced by a new popular Buddhist motif with full-faced Buddha sculptures. Tang China was the cross roads of East, Central, and South Asia and so the Buddhist art of this      
time period exhibit the so-called international style. State-sponsored Buddhist art flourished during this period, the epitome of which is the Seokguram Grotto.

Goryeo Dynasty

The fall of the Unified Silla Dynasty and the establishment of the Goryeo Dynasty in 918 indicates a new period of Korean Buddhist art. The Goryeo kings also lavishly sponsored Buddhism and Buddhist art flourished, especially Buddhist paintings and illuminated sutras written in gold and silver ink.

The crowning achievement of this period is the carving of approximately 80,000 woodblocks of the Tripitaka Koreana which was done twice.

Joseon Dynasty

The Joseon Dynasty actively suppressed Buddhism beginning in 1406 and Buddhist temples and art production subsequently decline in quality in quantity although beginning in 1549, Buddhist art does continue to be produced.