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This essay is a critical review of The Art of Buddhism written by the German art historian Dietrich Seckel. The 1962 book deals with the development of Buddhist art in Asian countries as diverse as India, Sri Lanka, Indonesia, China, Korea, Japan along with Indochina and Central Asia. Seckel’s work deserves our attention in that he addresses the spread of Buddhist art across the countries and regions of Asia. I focus on and redress some errors in Seckel’s book with respect to ancient Korea-Japan artistic relations. Seckel argues that Japan existed as an independent nation well before the early third century and was subject to direct influence from China in its development of Buddhist art. In other words, Seckel’s rendering of East Asian artistic interaction ignores Korea’s intermediary role and further rules out Korea’s direct influence on Japan’s Buddhist art in almost every area of architecture, painting, sculpture, and handicraft. Seckel’s failure to do justice to Korea’s place in ancient art history of East Asia is not an isolated case of misguided historiography. It reflects a larger picture of remote area painted by Europeans and should be redressed by efforts on the part of Korean scholars to make their own research available in more accessible languages.