Hello, and welcome to korraculture! Firstly, I would like to make it clear that this blog is not affiliated with @/atlaculture and is not ran by them. We were simply inspired by that blog and their awesome efforts! This blog was created due to that inspiration and motivation, as well as because the creator of that original blog made it clear they were not as interested in analyzing The Legend Of Korra as they were the original series. And that's perfectly fine, because that's where we come in!

The Legend Of Korra is fucking weird. It’s visually fucking weird. It’s a result of early 2010s interest in steampunk, Watanabe, and Miyazaki. In TLOK, we’re working off a base of oriental-influenced western animation, with added early 20th century (inevitably “western,”) aesthetics, and most of those western aesthetics themselves wouldn’t exist without 19th century orientalism fads! Hilariously cyclical. 

To fully understand the cultural inspirations in the art and design of The Legend Of Korra, we must at some point tackle the show’s introduction of western influences. And to fully understand those western influences, we must tackle the introduction of eastern influences in western modern art movements. 

I will try and give a brief history of Art Nouveau and its orientalist inception.

Alphonse Mucha detail, idealized figures and organic ornamentation.

Art Nouveau was an international modern art movement in late 19th/early 20th century Europe and America, (especially associated with the American Gilded Age). It was the precursor to the Art Deco movement, and there was some minimal overlap between the two. When we say art movement, we mean it didn’t contain itself to any one medium - architecture, fashion, fine art, advertising, glassware, furniture, etc were all participants in Art Nouveau. I think the most recognizable examples are definitely in print and advertising - you probably recognize the work of Alphonse Mucha.

[Advertisement for JOB cigarettes by Alphonse Mucha (1896) showing a woman with long flowing hair smoking a cigarette.]

Art historians often interpret Art Nouveau as a reaction to the Industrial Revolution. As more and more people migrate to cities to work in factories, the public feels less and less connected to nature. Art Nouveau responded with highly naturalistic designs and motifs, a fantastical escape from industrial toil. 

[Image titled "Luxury design for the masses." Left: Wooden cabinet by Émile Gallé (1900). Right: Autumn crocus vase by Émile Gallé (1900).]

[Left: The Hotel Van Eetvelde (1895) - one of the four great townhouse of the architect Victor Horta, in Brussels. Middle: Tropon poster by Henry Van de Velde (1899).]

[Metro entrance by Hector Guimard, Port Dauphine (1900) and metro ironwork detail.]

[Left: Assorted Art Nouveau jewelry from "Metamorphosis of a Jewel" exhibit (7). Right: Art Nouveau Coffeehouse Riquet, with Chinese inspired architecture, Leipzig, Germany.]

In Art Nouveau you will be able to find heavy reference and inspiration from celtic, neo-classical, and rococo art. (6)

The movement didn’t only draw on familiar ornamental and naturalistic aesthetics of the past. As the world rapidly changed around them, artists wanted to change with it. “The movement itself was motivated by the idea that artists wanted to move away from creating art using eclecticism, which is the concept of drawing from other sources to create a greater whole. In other words Art Nouveau was an attempt to break away from the constrictions of traditional art styles at the time, hence why the name literally means “new art” in French.” (2)

But how do you create art that is actually new, fresh, modern, not derivative of something everyone is familiar with? Simple. You make art derivative of something your contemporaries are not familiar with.

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[Left: Book cover design for "Art Furniture Designed by Edward W. Godwin," (1878). Right: "Anglo-Japanese Drawing Room Furniture," designs by Edward Godwin. Edward Godwin was a prominent British weeb.]

The western world expanded its reach in the mid 1800s, and Europe and America familiarized themselves with Asia through imperialism, colonization, exploration and trade, and technological advancements in locomotion and communication. Artists took from Asia, (and I do mean Asia in entirety), among other things, organic forms and subject matter, patterns and ornamentation, and representational stylizations.

Art Nouveau was ornamental and organic, which had been seen before in Europe in Rococo ornamentations, but was not necessarily realistic, more representational of nature and natural forms - and this was new to contemporary European and American art. “Avoidance of realism is in itself Oriental.” (1) (At least, it is when orientalism is the main source of inspiration for abandoning realism). 

Late contemporaries of the movement noted; It was “The influence of the East making here for a loose technique in painting, there for a playful weightlessness of construction, and again in other works for flat-pattern effects…unique synthesis of ornamental and of ‘Impressionist’ qualities in Eastern art,” (1) that gave Art Nouveau its distinctive style. 

The most prominent and recognizable influences were probably Japan and China, such as Chinese watercolor paintings and Japanese printmaking. “To a great extent, the intermediary between the paintings Chinese and the nineteenth century French artists was the Japanese print.” (1) Not that it stopped there, by any means. But it's easiest to find examples and parallels.

You can see a lot of the qualities of Japanese prints in Art Nouveau - 

Organic forms

A flat, two dimensional impression

Use of watercolor and water based inks 

Idealized feminine figures

etc. Even earlier western art movements like impressionism were influenced by the art of China and Japan.

[Left: An example of Orientalist influence in Van Gogh's "Almond Blossoms." (1888-1890) Right: An example of Japanese floral art by Hokusai.]

There’s no way I’ll be able to fit in every example and analysis of all the eastern influences in Art Nouveau - visual aides, come to my rescue!

[Left: Art Nouveau vase by Hessenberg and Company, with a stylized dragon/creature climbing the spout. Right: Pale Celadon of the K'ang Hsi period, with a stylized dragon/creature climbing the spout.]

[Left: Chinese gate with moon-shaped frame. Right: Art Nouveau storefront in Paris.]

[Left: Japanese interior. Right: Living room at Primavesi Villa, Windelsdorf, (1913-14). Heavier ornamentation in the European example, but the clean design of the floors and walls would have been pretty foreign and obviously orientally-influenced for Europe at this time.]

China and Japan are the countries most often referenced by Art Nouveau contemporaries when talking about influences on their art, but they are far from being the only eastern cultures referenced. The movement also took inspiration from South and West Asia, as well as Egypt, the latter which will come up more in our discussion of Art Deco.

[Detail from a Javanese batik sarong. Represents the kind of ornamentation and 2D design western Nouveau artists loved to rip off for print, furniture, and fashion.]

So far, I have been mostly talking about a one-sided kind of synthesis, but this wasn’t a one-sided exchange (despite the power imbalance of many of these exchanges being squarely in the west’s favor). Just as the western world was changing rapidly, so was the eastern world.

To some in China and Japan, modern art movements were symbols of European and American imperialism and hegemony. To others, it was an opportunity to create their own versions of the art movements, to combine tradition with foreign influence, to try and create new art for their new reality. I can’t really speak to which interpretation is more viable - but I will say that eastern artists of the early 20th century deserve to have their agency respected, and their art appreciated.

[Left: Hi No Tori (Firebird) woodblock print by Hiromitsu Nakawaza. Inspired by Russian Ballet, "L'oiseau de Feu." Right: "Blossoming Plum Tree by a River," postcard design by Nagoya Design Association (1905-1910).]

Takeaways - what do I want people to be thinking about as they watch TLOK with an eye for Art Nouveau influence?

The anatomy - can you recognize Art Nouveau more easily now? Recognize organic forms, stylized representations, ornate metal and glasswork, influences from European and Asian art?

The thematic relevance - can you recognize the logic behind referencing this art movement in a setting like Republic City? Are the artists and architects of Republic City reacting to their rapidly changing environment, trying to create a new art movement that belongs to them alone? “In other words, they shunned the results of former great art – the mistake of their immediate predecessors – but tried to get at the essence underlying the production of it, which at last they adopted for the purpose of arriving at their own artistic achievements.” (1)

The pitfalls - can you recognize that the creation of this art movement is completely tied up in 19th century western imperialism? For all its relevance to the setting of TLOK, isn’t it still an anachronism? 

I know I didn't put any examples of Art Nouveau from the show in this post - that's what's coming next!

Further Reading/Sources:

[Image: A screenshot of Zaheer trying his best to look benevolent, showing Ikki a necklace with a small, ornate golden locket attached to it. End.]

[From Episode 5 of Book 3: Change.]

In this episode we see Zaheer enter Tenzin's study and admire a locket inscribed with the teachings of Guru Laghima. (Cultural note - Laghima is an Indian/Sanskrit name which roughly means, "ability to become very light." More evidence of South Asian inspiration for the Air Nomads!)

There is a depiction of Laghima on the front of the locket, and on the inside, there is inscribed calligraphy. A Redditor clarifies:

"This is not specifically Mandarin Chinese or any other Chinese Language. It is Written in a style reminiscent of Classical Chinese It breaks down more or less as 出 = Leave/Rise Above 塵世 = The Mortal World 羈絆 = Restraint(s) 入 = Enter 虛 = The Emptiness of the Void 無 = (Embrace) Nonexistence 如 = Be As 風 = Wind 世 is written in its older form 卋."

Fascinating worldbuilding. But it didn't appear out of thin air. What is it based on?

Possible Influences

Tibetan Ghau, or prayer boxes.

Usually associated with buddhism, these portable shrines bear a strong resemblance to what we see in the show, though there are many variations. They were worn as a necklace to hold sacred relics, mantras, or deity images. Having a lightweight, portable altar must have been invaluable for travelers.

[Images: Variations of prayer boxes. Their material ranges from gold and silver, to wood, and their shape from rectangular to round. Tibetan script is inscribed on the faces of some. End.]

Miscellaneous prayer boxes.

[Images: From left to right: A large, ornate Tibetan prayer box, resembling an armoire. A Japanese portable shrine (zushi,) with doors opening to a painted wooden demon. A carved soapstone shrine box from Thailand, with intricate detail work and buddhist imagery. End.]

You might be interested to note that portable shrines, lockets, and altar boxes are recorded across a wide swath of cultures. Ostensibly, you could find these small altars all across the Four Nations.

Sources/Further Reading ->

A brief mod note/explanation.

Have you noticed that I have not touched on any of the anachronistic/dieselpunk designs in TLOK yet? Well, that's by design.

I do plan to get to them! But first, I must establish a LOT of historical and cultural context, as I believe this will be necessary for people to both get more understanding and enjoyment out of this blog.

My outline, in order, is as follows:

+ An explanation/analysis of orientalist and global influences on Art Nouveau.

+ An explanation/analysis of orientalist and global influences on Art Deco.

+ An explanation/analysis of Art Nouveau, Deco, and Western art and culture on early 20th century China and East Asia.

Only once we understand all of these interlocking elements can we have any meaningful discussion about the cultural elements and influences present in The Legend of Korra. I hope you join me along for the ride!

I saw in a post, admittedly a while ago, that new costumes for the Kyoshi Warriors this season changed their headpieces to be "westernized," and "turned them into tiaras." I'm here to happily inform you that this is inaccurate! Or, at the least, reductive.

[Images: Two pictures of Maria Zhang as Suki in the Netflix adaptation. She is in full facepaint, and on her armored headband is a golden crest in the shape of a triangle with two crossed fans across it. There are two red tassels framing her face. End.]

In Book 1, Suki's costume is very similar to her design in the cartoon. Here is a good breakdown of all the elements in the Kyoshi Warrior's headpieces.

In the upcoming second season, her headpiece is definitely changed, but it's changed to more closely resemble that of depictions of Tomoe Gozen in Kyoto's Jidai Matsuri (Festival of the Ages.) Tomoe Gozen was a legendary onna-musha, or female samurai, (though as with most legends, her objective historical existence is dubious.) The headpiece Tomoe Gozen actors wear would be what we consider a crown, or maetengan. Originating from the Heian period and originally worn as a status symbol, they are now associated with Miko clothing (巫女装束, miko shōzoku,) worn by shrine maidens and female priests.

Considering this headpiece in particular is often associated with a legendary female samurai, I think it's safe to say that using it in the Kyoshi Warriors' costume is a cohesive and logical design choice. While technically it is a tiara, I would caution against using that word in a reductive way.

[Images: Two shots of Maria Zhang as Suki in the trailer and behind the scenes footage for NATLA Season 2. Her headpiece is smaller and lacks the golden fan crests. Two red tassels frame her face, which is in full paint. End.]

[Images: First Image: A woman dressed as Tomoe Gozen. She has an ornate triangular golden headpiece that closely resembles that of Suki's in NATLA Season 2. Large red tassels frame her face, and she is wearing colorful samurai armor and holding a sword aloft. Her face is painted bright white with red accents on her lips and the corners of her eyes. End. Second Image: A woman dressed as a female samurai, mounted on a horse. She is dressed very similarly to the woman from the first image, with the addition of two tufts of pink flowers positioned behind her crown. She has a knife and fan tucked into her belt. End.]

We also get a glimpse at another background Kyoshi Warrior, who is still sporting their typical armored headband, or hachigane.

[Image: A Kyoshi Warrior in the middle of an action sequence, wearing a green headband with a small metal piece at the front. Her face is framed by golden tassels. End.]

Loose continuation of this post.

On the Fire Nation Island that Korra washes up on in Book 2, the sages take her inside what looks like a large temple complex, surrounded by dense jungle, with room for large flat courtyards. We also get some interior shots, show ornamental architecture and various shrines to different statues and figures.

Possible Influences

Obviously the first one that comes to mind is going to be Angkor Wat, in Cambodia. Angkor Archaeological Park actually contains multiple sites and remains of Khmer capitals and temples. Angkor Wat refers to the large complex of religious temples, constructed between 1113 and 1150 CE under the Khmer Empire. King Suryavarman II originally constructed it as a Hindu temple dedicated to Vishnu, but in later centuries was converted to mainly serve Theravada Buddhism, and is known by most as a place for Buddhist worship. The Khmer Empire originated in northern Cambodia and was spread throughout Thailand and Southeast Asia to as far north as Southern China. It influenced art and architecture in this region for hundreds of years, existing from 802–1431 AD. Think, "Hellenization," but for Southeast Asia.

Now, the pointier spires of Ayutthaya and Wat Chai Watthanaram, in Thailand, actually bear a closer resemblance to what we see in the show. Ayutthaya actually refers to the historic capital city of the Ayutthaya Kingdom, which ruled Thailand and neighboring areas from 1351 to 1767. You might have heard it referred to as "Siam." The kingdom formed from the "mandala," or merger, of three different city states, Ayutthaya being one of them, between the 13th and 14th centuries. The kingdom went from a very de-centralized confederation based mainly around maritime trade, to a more centralized power in later centuries. Maybe not super relevant to the architecture, but I found this incredibly interesting and cool. The entire city of Ayutthaya is an architectural and engineering wonder, but Wat Chai Watthanaram is perhaps a more specific allegory for what we see in the show, as it was built in 1630 as a Buddhist Temple and military monument (interesting combo,) and utilizes Buddhist cosmology and symbolism in much of its design.

Worldbuilding Implications

Sages in a religious temple? Checks out. Spiritually-charged, Avatar memory-healing water in a cosmologically designed place of worship? Also checks out.

This follows the trend from ATLA of the Southeast Asian inspirations for the Fire Nation.

If you see the Fire Nation, as we know it in 100 AG, as the result of centuries of different kingdoms and empires and de-centralized cultures coalescing into, (or being subjugated into,) one centralized cultural identity and nation, examples of more specific architectural reference like this existing on the fringes of the empire make a lot of sense!

Perhaps this style of Fire Temple was the result of a culture no longer in power, that influenced the rest of the Fire Islands centuries ago. The connection to your typical Air Nomad architecture cant be ignored either, perhaps it's part of a spiritual architectural tradition that spread throughout the Four Nations by way of the sages and Avatar worship. Infinite possibilities!

Please feel free to make your own additions to this post, either on the end of education or theorizing. We'd love to hear from you!

Sources/Further Reading ->

[From episodes 7 and 8 of TLOK Book 2: Spirits.]

Whenever I watched the "Beginnings" episodes I was always so charmed by this character's design (named only as "Shaman" on IMDB,) and also stumped on where the inspiration for her hairpiece was taken from. After some digging, I'm fairly certain I know the answer!

The Hlai or Li (黎) people of southeast China

The Li are an ethnic minority group in China from the island of Hainan off the southeast coast. They have their own language and culture and are further divided into five branches; the Qi, Ha, Run, Sai, and Meifu. They're part of the larger Kra-Dai language family in the Southeast Asian mainland.

The Shaman is wearing what appears to be bone or metal hairpins. Traditional Li hairpins and combs could be made out of wood, silver, bone, or copper. Modern hairpins have also been made out of aluminum. They are often decorated with carvings, or other metal charms and bells attached to the ends, which is a detail our Shaman is missing out of animation practicality. Li craftspeople are known for their work with silver, as well as traditional spinning, dyeing, weaving, and embroidery techniques.

[Note the different combinations and styles of the hairpins - the Shaman's seem pretty reminiscent of the simpler styles, but this is just my interpretation. Additionally, her necklace seems to be closer to traditional jewelry from Nagaland, if anything. She's probably your typical Avatar character design melting pot - to put it kindly.]

Interesting tidbits, the Li have a history of (failed) rebellion against the Tang Dynasty, as well as some examples of women becoming political leaders.

All in all, intentional or not, it seems to be a very good choice to draw inspiration from when designing a female Fire Nation character on an isolated island that diverged from the imperial core. The history of the human geography and ethnic migrations of Hainan and the Kra-Dai groups is also very interesting, gets you thinking about the hypothetical ethnic/human geography of the "Four" Nations!