South Korea, a land of bustling streets, neon-lit alleys, and towering skyscrapers, offers a plethora of opportunities for capturing stunning urban nightscapes. As a photographer based in this dynamic country, diving into the realm of night photography unveils a canvas of vibrant city lights and captivating architectural marvels. In this comprehensive guide, we’ll explore the art and techniques behind urban night photography in South Korea, from essential equipment to composition tips and post-processing tricks.
Gear Essentials
Before venturing into the nocturnal realm, it’s crucial to equip yourself with the right gear. A sturdy tripod is your best companion for long exposure shots, ensuring sharpness and stability in low-light conditions. Pair it with a wide-angle lens to encompass expansive cityscapes and capture the grandeur of South Korea’s urban landscapes. Additionally, carrying spare batteries and memory cards ensures uninterrupted shooting sessions amidst the city’s electrifying ambiance.
My main recommendation for tripods these days are tripods from K&F Concept. They are well built and relatively affordable. Not to mention, that even when ordering one of their more expensive carbon fibre tripods, I had no troubles betting it through Korean customs.
Choosing the Perfect Location
South Korea’s cities boast a myriad of picturesque locations for night photography. Seoul’s iconic landmarks such as the futuristic Dongdaemun Design Plaza, the illuminated Gwangali bridge in Busan, and the bustling streets of Ulsan offer endless possibilities for creative compositions. Busan’s vibrant nightlife scene and the Cheongaechon Stream in Seoul provide additional opportunities for capturing stunning cityscapes. Researching potential shooting locations beforehand enables you to plan your shoot effectively and maximize your time on-site.
However, don’t give up if you don’t live in Seoul or Busan. The beauty of Korea is that any downtown area or “shinae” will have the same elements that many of the larger cities have. They will have tons of traffic, flashing signs and interesting buildings. Use there elements to create your own nightscapes of Korea.
Mastering Exposure and Settings
Achieving the perfect exposure is paramount in night photography, where light is scarce yet dynamic. Start by setting your camera to aperture priority mode and dialing in a low ISO to minimize noise. Experiment with long exposure times, ranging from a few seconds to several minutes (in manual mode), to capture the trails of passing vehicles or the mesmerizing flow of city lights. Utilize a wide aperture (low f-stop) to maximize light intake and create captivating bokeh effects. Additionally, using a remote shutter release minimizes camera shake and ensures sharp, blur-free images.
One tip that I use is by downloading the app for your camera, if it has one. This will allow you to use your phone as a remote shutter. If you don’t have that feature, use the 2-second timer on your camera to get a hands-free shot. If you use a canon camera and are bracketing your shots, then this will also shoot all of your images in succession without having to shoot them individually.
Composition Techniques
Composition plays a pivotal role in creating compelling urban nightscapes. Incorporate leading lines, such as roads or bridges, to guide the viewer’s gaze through the frame and add depth to your images. Experiment with different perspectives and angles to highlight the juxtaposition of modern architecture against the night sky. Utilize reflections from puddles or glass surfaces to introduce intriguing visual elements into your compositions. Remember the rule of thirds and consider placing key elements, such as city landmarks or light trails, along the intersecting points for added visual interest.
Night photography in Korea is something that really allows you to experiment with your composition. Try shooting in tight alleyways or using the lightrails of the endless streams of traffic to help make your shots really pop. No matter where you live in Korea, you can find areas that will be amazing for street photography.
Post-Processing Magic
Post-processing allows you to enhance and refine your night photographs, bringing out the full potential of your captures. Software such as Adobe Lightroom or Luminar Neo enables you to fine-tune exposure, contrast, and color balance to achieve a desired aesthetic. Adjusting white balance settings can help correct any color casts introduced by artificial lighting, ensuring accurate and vibrant hues. Experiment with selective dodging and burning to emphasize specific areas of your image and create a sense of drama and depth.
The bottomline is that urban night photography in South Korea is a captivating journey into the heart of bustling metropolises, where the cityscape transforms into a mesmerizing tapestry of light and shadows. Armed with the right gear, technical know-how, and creative vision, photographers can unlock the full potential of this dynamic genre, capturing the essence of South Korea’s vibrant urban landscape under the cloak of night.
Seonsuam Hermitage at Sudeoksa Temple in Yesan, Chungcheongnam-do.
Hermitage History
Seonsuam Hermitage is located on the Sudeoksa Temple grounds in Yesan, Chungcheongnam-do in the southern foothills of Mt. Deoksungsan (495.2 m). The hermitage is also a nunnery for Buddhist nuns. Very little is known about the hermitage’s history.
Hermitage Layout
Just to the southwest of the main temple courtyard at Sudeoksa Temple, you’ll find Seonsuam Hermitage. As you first approach the entry to the hermitage, which is located just to the left of the Sacheonwangmun Gate for Sudeoksa Temple, you’ll notice a miniature replica of Dabo-tap Pagoda of Bulguksa Temple fame halfway up the pathway. Nestled under towering trees, the pagoda is an exact replica of the stone monument but just a quarter of its original size.
Finally entering the hermitage’s main courtyard, you’ll notice the large main hall to your right with the nuns’ dorms off to the left. The Wontongbo-jeon Hall’s exterior is beautifully adorned with two different sets of murals. The upper set is the vibrant Palsang-do (The Eight Scenes from the Buddha’s Life), while the lower set depicts the various stages of a person’s life. The floral latticework on the front doors are stunning.
Stepping inside the Wontongbo-jeon Hall, and seated all alone on the main altar, is a large image dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion). The entire interior of the main hall is adorned with various murals. To the right of the main altar are a set of four murals. The first of these paintings is dedicated to Jijang-bosal (The Bodhisattva of the Afterlife), followed by one dedicated to Sanshin (The Mountain Spirit), another dedicated to Chilseong (The Seven Stars), and the last being a beautiful Shinjung Taenghwa (Guardian Mural).
It should be noted that during my visit to Seonsuam Hermitage, I met one of the nicest nuns (or monks for that matter) at any temple or hermitage in Korea. She took the time to explain some of the details behind each painting inside the Wontongbo-jeon Hall. Also, she gave me a beautiful wood panel piece filled with a dancheong design. It was a great experience.
How To Get There
To get to Seonsuam Hermitage, you’ll first need to get to Sudeoksa Temple. To get to Sudeoksa Temple, you’ll need to take a bus from the Yesan Intercity Bus Terminal. From this terminal, you can take a rural bus to get to Sudeoksa Temple. Here is a list of potential buses that you can take: Bus #553 (8:20), Bus #547 (9:40), Bus #558 (10:50, 17:35), Bus #551 (12:00, 15:00), Bus #557 (13:20), Bus #549 (14:00), Bus #555 (15:55), Bus #556 (19:15). These buses will take about an hour and forty minutes to get to the temple.
Once at Sudeoksa Temple, make your way towards the main temple courtyard. Just before the Sacheonwangmun Gate, hang a left and head towards Seonsuam Hermitage. It’s about 100 metres up the pathway.
Overall Rating: 3/10
Seonsuam Hermitage is well-taken care of as is evident of the well-manicured grounds. In addition to all of this natural beauty, the hermitage also houses a beautiful collection of artwork inside the main hall. There’s also a large, imposing image of a feminine-looking statue of Gwanseeum-bosal (The Bodhisattva of Compassion) on the main altar. So if you’re visiting the neighbouring Sudeoksa Temple, you should definitely drop by Seonsuam Hermitage along they way.
The pathway and replica of Dabo-tap Pagoda as you make your way up to Seonsuam Hermitage.
The beautiful Wontongbo-jeon Hall at the hermitage.
A fierce decorative dragon near the signboard of the main hall.
Some of the beautiful floral latticework that adorns the Wontongbo-jeon Hall.
One of the Palsang-do (The Eight Scenes from the Buddha’s Life) that adorns the exterior of the main hall.
Joined by this set of murals dedicated to a person’s life.
A look inside the Wontongbo-jeon Hall.
The Sanshin (Mountain Spirit) mural inside the main hall.
Joined by this Shinjung Taenghwa (Guardian Mural).
An up-close of Dongjin-bosal (The Bodhisattva that Protects the Buddha’s Teachings) inside the Shinjung Taenghwa (Guardian Mural).
The Siwang (The Ten Kings of the Underworld) painting inside the Wontongbo-jeon Hall.
And the Gamno-do (Sweet Dew Mural) inside the main hall, as well.
Korean adjectives are often misused when speaking, not only because adjectives in Korean conjugate, but because the WAY that they conjugate isn't how you might expect. Misusing adjectives is an incredibly common mistake in Korean, and in this video I explain how to solve it.
A Mid-18th Century Painting of Bohyeon-bosal (The Bodhisattva of Power) Riding a Six-Tusked Elephant inside the Daeung-jeon Hall at Jangyuksa Temple in Yeongdeok, Gyeongsangbuk-do.
Temple History
Jangyuksa Temple is located to the south of Mt. Unseosan (519.9 m) in northern Yeongdeok, Gyeongsangbuk-do. The temple was first constructed by the monk Naong (1320-1376) during the reign of King Gongmin of Goryeo (r. 1351-74).
Jangyuksa Temple was later destroyed by a brush fire during the reign of King Sejong (r. 1418-1450). It was at this time that a rather interesting temple myth surrounds the rebuild of Jangyuksa Temple. During this rebuild, a carpenter volunteered to help reconstruct the Daeung-jeon Hall. He did this to help pray for his mother’s recovery. When the construction was almost complete, and there were only the last four pillars left to be added to the main hall, the carpenter heard that his mother had died. Devastated, and unable to hide his grief, the carpenter left the construction of the Daeung-jeon Hall before its completion. The loss of his mother, or at least this is what the carpenter told himself, was caused by the lack of sincerity of his prayers. After the departure of the grieving carpenter, a new carpenter was called in to complete the main hall. But because of his lack of expertise, the main hall was completed with the bowing of the four remaining pillars.
This Daeung-jeon Hall, and the rest of the temple grounds, would be completely destroyed, this time, during the Imjin War (1592-98). Not long after, Jangyuksa Temple would be rebuilt, again. And the latest large scale restoration took place in 1900.
You first approach the temple grounds up a twisting country road, until you eventually arrive at the temple parking lot. From the temple parking lot, you’ll get great views to your right of the sprawling temple grounds with a meandering stream to your left.
Mounting the stone set of stairs, you’ll find the Jong-ru Pavilion halfway up your climb. Housed inside this bell pavilion is a beautiful bronze bell. After viewing the Jong-ru Pavilion, you’ll pass under the temple’s Boje-ru Pavilion. Just make sure to watch your head when passing under the pavilion because the ceiling is quite low.
Appearing on the other side of the Boje-ru Pavilion, you’ll finally be standing in the centre of the main temple courtyard. Straight ahead of you is the Daeung-jeon Hall. The Daeung-jeon Hall is Gyeongsangbuk-do Tangible Cultural Property #138.
The exterior walls are adorned in simple dancheong colours. Stepping inside the Daeung-jeon Hall, which was renovated in 1900, you’ll find a triad of statues resting on the main altar. In the centre sits Seokgamoni-bul (The Historical Buddha), who is joined on either side by Munsu-bosal (The Bodhisattva of Wisdom) and Bohyeon-bosal (The Bodhisattva of Power). This triad is backed by a stunning “The Sermon on Vulture Peak Painting,” or “Yeongsan Hoesang-do – 영산 회상도” in Korean. It’s believed that the painting dates back to the mid-18th century, and it’s Gyeongsangbuk-do Tangible Cultural Property #373.
To the left of the Daeung-jeon Hall, on the other hand, is the temple’s Gwaneum-jeon Hall. Like the Daeung-jeon Hall, the Gwaneum-jeon Hall is adorned with simple dancheong colours. As for the interior, and resting on the main altar, is a solitary image dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion). This is the “Dry-lacquered Seated Avalokitesvara Bodhisattva of Jangnyuksa Temple,” which is Korean Treasure #993. This statue stands 86 cm in height, and it was made in 1395 through the donations of the officials and people of Yonghae-bu District. It was re-gilt in 1407. The face of the Bodhisattva looks determined, and its overall stance is slightly bent. Compared to other Buddha and Bodhisattva statues of the early 14th century, this statue emphasizes the decorations adorning its body like the necklace and crown than other features on the statue. Backing this statue is a modern multi-armed and headed image of the Bodhisattva of Compassion. And filling out the rest of the interior of the shrine hall are tiny statues of Gwanseeum-bosal.
And to the left of the Gwaneum-jeon Hall is the Dokseong/Sanshin-gak Hall. Like the previously mentioned shrine hall, this shaman shrine hall’s exterior walls are adorned in simple dancheong colours. Stepping inside the Dokseong/Sanshin-gak Hall, you’ll find a pair of paintings. The painting to the right is dedicated to a rather surprised-looking image of Dokseong (The Lonely Saint), while the mural to the left is dedicated to Sanshin (The Mountain Spirit). The Mountain Spirit is joined by a wild-eyed image of a tiger.
How To Get There
Without the use of your own vehicle, Jangyuksa Temple is virtually impossible to get to. With nearly a two and a half hour ride on public transportation and multiple bus changes along the way, a vehicle of your own is almost a must. However, if you don’t have your own mode of transportation, the next best thing might be a taxi from the Yeongdeok Terminal. If you take a taxi to get to Jangyuksa Temple, it’ll take about 33 minutes, over 32 km, and it’ll cost you 41,000 won (one way).
Overall Rating: 7/10
The rather obvious highlight to Jangyuksa Temple is the Daeung-jeon Hall. In total, it houses some four provincial treasures; some of which, I wouldn’t be surprised become Treasures in the not too distant future. Of particular note are the eighteen mid-18th century paintings that adorn every surface inside the main hall, as well as the pair of provincial paintings dedicated to Jijang-bosal and the “The Sermon on Vulture Peak Painting” backing the main altar triad. In addition to the Daeung-jeon Hall, you should also look for the stunning “Dry-lacquered Seated Avalokitesvara Bodhisattva of Jangnyuksa Temple,” which also just so happens to be a Korean Treasure, as well as the mural dedicated to the Mountain Spirit inside the shaman shrine hall. Overall, Jangyuksa Temple is little known, as a result there aren’t too many crowds, which makes for a rather tranquil experience.
The stone stairs leading up to the Boje-ru Pavilion.
The Jong-ru Pavilion along the way.
The bronze bell housed inside the Jong-ru Pavilion.
The Daeung-jeon Hall at Jangyuksa Temple.
The main altar triad backed by the mid-18th century “The Sermon on Vulture Peak Painting.”
A look around the interior of the Daeung-jeon Hall.
The Jijang-bosal (The Bodhisattva of the Afterlife) painting inside the Daeung-jeon Hall that’s Gyeongsangbuk-do Tangible Cultural Property #374.
Some of the 18 paintings adorning the interior walls of the Daeung-jeon Hall that are from the mid-18th century.
Joined by this mid-18 century mural dedicated to Munsu-bosal (The Bodhisattva of Wisdom).
The modern three-story pagoda to the right of the main hall.
And to the left of the Daeung-jeon Hall is the Gwaneum-jeon Hall at Jangyuksa Temple.
The “Dry-lacquered Seated Avalokitesvara Bodhisattva of Jangnyuksa Temple” housed inside the Gwaneum-jeon Hall that also just so happens to be Korean Treasure #993.
The Dokseong/Sanshin-gak Hall.
The painting dedicated to Dokseong (The Lonely Saint) inside the shaman shrine hall.
Joined by this mural dedicated to Sanshin (The Mountain Spirit).
We're up to lesson 4 out of a total of 20 episodes in my newest course, "Korean Conversation Course." This course is for learners who've passed the basics and want to start entering real, natural Korean conversations - conversations you can encounter in Korea today.
This lesson's conversation is about going to a store and buying a new computer, and talking with the store worker about what to buy.
In the predawn hours, when most sane souls are still cocooned in the warmth of their beds, there’s a sacred magic brewing in the world. It’s the time when shadows dance differently, and light paints the sky in hues only the early risers witness. This is the time when Seuldo Island, nestled in the embrace of Dong-gu Ulsan, reveals its raw beauty to those willing to chase the dawn.
My recent escapade to Seuldo was born from the ashes of a canceled photowalk, a casualty of unpredictable weather. But sometimes, the best adventures stem from unexpected beginnings. Armed with my camera and a craving for connection with the lens, I embarked on a solitary journey, seeking solace in the solitude of dawn.
Seuldo, with its seaside cafes and Instagram-worthy canola flowers, is a siren song for many. But for me, the allure lies in the tranquil morning hours, where the world whispers secrets only the early risers can hear. As I stumbled out of bed, late yet eager, I found myself greeted by a celestial surprise—a massive moon lingering behind the lighthouse, casting a silver glow upon the waking world.
With adrenaline coursing through my veins, I hastily set up my gear, grateful for the 70-200mm lens that framed the scene with perfection. As if scripted by fate, a fellow shutterbug emerged from the darkness, his energy mirroring my own. In the silent communion of photographers, we shared a moment, capturing the fleeting beauty of dawn with our lenses.
With the sunrise as our muse, we danced with light and shadow, each click of the shutter a testament to our shared passion. And as quickly as our paths crossed, he vanished into the morning mist, leaving me to ponder my next destination.
The allure of Gyeongju beckoned, its ancient charm calling to my wandering soul. Amidst centuries-old temples and blooming cherry blossoms, I found inspiration in every corner. The forest of “double blossoms” whispered tales of seasons past, their delicate petals a symphony of color against the backdrop of history.
Amidst the tranquility of nature, I found my muse—a solitary tree adorned with pink blossoms, its branches reaching towards the heavens. In that moment, I became a storyteller, capturing the essence of time in a single frame.
As I retraced my steps homeward, exhaustion mingled with euphoria, a testament to the day’s endeavors. In the quiet of my sanctuary, I marveled at the memories captured through my lens, each image a testament to the beauty of the world awakened.
In a life filled with choices, I am grateful for the moments when I choose to chase the dawn, to embrace the unknown with open arms. For in those fleeting moments, I find not only photographs but fragments of my soul scattered amidst the pixels—a reminder that the greatest adventures lie just beyond the horizon.
So here’s to Seuldo Island, to Gyeongju’s ancient allure, and to the serendipitous moments that shape our journey. May we continue to chase the dawn, one click of the shutter at a time, in search of stories yet untold.
~기는 (commonly shortened to ~긴) is from the ~기 nominalization form and the Topic Marker 는 (기 + 는) and has several uses, one of which is when disagreeing with someone else. It's also used when admitting something to someone, but not completely. I explain all of its major uses in this live stream.
Note that this is the last live classroom until I return from Korea at the end of July. I hope to do a regular live stream while I'm there, as well as possibly another fan meetup in Seoul, so look forward to some more upcoming announcements soon!
Jijang-bosal (The Bodhisattva of the Afterlife) at Unheungsa Temple in Goseong, Gyeongsangnam-do.
Temple History
Unheungsa Temple is situated up a long valley between Mt. Bongamsan (434.6 m) and Mt. Baekamsan (403 m) to the far west of Goseong, Gyeongsangnam-do. Unheungsa Temple was first constructed in 676 A.D. by the famed monk Uisang-daesa (625-702 A.D.). Little is known about the temple until it was used to raise an army of some 6,000 warrior monks during the Imjin War (1592-98) and led by Samyeong-daesa (1544-1610). A large portion of the temple was destroyed at this time. It wasn’t until 1651 that the temple was partially rebuilt. The current Daeung-jeon Hall and Yeongsan-jeon Hall were reconstructed in 1731.
Additionally, there was a bronze bell at Unheungsa Temple that was first made in 1690. However, during Japanese Colonial Rule (1910-45), it was smuggled off to Japan.
Unheungsa Temple has two hermitages directly associated with it. They are Seodokam Hermitage and Cheonjinam Hermitage. It’s believed that Cheonjinam Hermitage was first founded in 1692, while the water of Seodokam Hermitage is so powerful that alcohol can’t be made using this hermitage water.
You’ll first approach Unheungsa Temple up a long valley road. This secluded mountain road leads up to the equally secluded temple grounds. Along the way, you’ll pass by the stately Iljumun Gate. From the temple parking lot, and up a flight of stone stairs, you’ll see the newly built Boje-ru Pavilion. This newly constructed entry pavilion is beautifully perched on a large, stone barrier. You’ll pass through the first story of the structure and climb up a narrow set of a stairs as a modern, third-story pagoda comes into view.
To the left of the main altar are a collection of three paintings. The first, and closest to the main altar, is a replica of the “Hanging Painting and Storage Chest of Unheungsa Temple.” The original, which dates back to 1730, is only brought out on the most important of days like Buddha’s Birthday. To the left of this smaller sized replica is a mural dedicated to Chilseong (The Seven Stars). And to the left of this shaman mural is a Shinjung Taenghwa (Guardian Mural). To the right of the main altar, on the other hand, is a stunning Gamno-do (Sweet Dew Mural) that dates back to 1730. It’s quite a large painting at 245.5 cm in height and 254 cm wide. It was created by the monk painter Uigyeom, who was a renowned painter in the Jeolla Province area during the 18th century along with 12 other painters. You’ll also find a painting dedicated to Dokseong (The Lonely Saint) in this area of the main hall, as well as a replica of the “Buddhist Painting of Unheungsa Temple, Goseong (Avalokitesvara Bodhisattva).” Like the Gamno-do, the original of this painting dates back to 1730, and it was also painted by Uigyeom. The original is Korean Treasure #1694. The interior of the Daeung-jeon Hall is packed with beautiful Buddhist artistry.
To the right of the Daeung-jeon Hall is the Myeongbu-jeon Hall. Like the main hall, the exterior of the Myeongbu-jeon Hall is adorned in simple dancheong colours. Stepping inside the Myeongbu-jeon Hall, you’ll find a solitary green-haired image of Jijang-bosal (The Bodhisattva of the Afterlife). Joining Jijang-bosal inside the Myeongbu-jeon Hall are the Siwang (The Ten Kings of the Underworld). They are large, wooden images of the Siwang. And both entrances to the Myeongbu-jeon Hall are a guarded by two, large Geumgang-yeoksa (Vajra Warriors).
Between the Daeung-jeon Hall and the Myeongbu-jeon Hall, and still to the right of the main hall, you’ll find a smaller Sanshin-gak Hall. This shaman shrine hall is solely dedicated to Sanshin (The Mountain Spirit). The modern painting dedicated to Sanshin is joined in the painting by a rather inquisitive-looking tiger and a pair of dongja (attendants) carrying a basket of fruit that includes a peach and pomegranate.
To the left of the Daeung-jeon Hall, on the other hand, is the Yeongsan-jeon Hall, which is the other historic shrine hall at Unheungsa Temple. Like the Daeung-jeon Hall, the Yeongsan-jeon Hall dates back to 1731. Like all the shrine halls at the temple, the exterior walls to the Yeongsan-jeon Hall are adorned in simple dancheong colours. Stepping inside the Yeongsan-jeon Hall, you’ll find a triad of statues resting on the main altar. In the centre is a statue of Seokgamoni-bul (The Historical Buddha). This central image is joined on either side by Yeondeung-bul (The Past Buddha) and Mireuk-bul (The Future Buddha). This main altar triad is joined on both sides (eight on each side) of the sixteen Nahan (The Historical Disciples of the Buddha). While they appear simple in design, they are still quite masterfully sculpted.
How To Get There
From the Samcheonpo Intercity Bus Terminal, you’ll need to catch Bus #30 to get to Unheungsa Temple. This bus goes directly to the temple. This bus says “Budu (부두) – Unheungsa (운흥사)” on it. There is also the same bus numbered Bus #30 that reads “부두-홀곡-운흥사” on it. This bus also goes to Unheungsa Temple, but it takes about ten minutes more. In total, the direct bus, Bus #30, takes about thirty minutes, or 16 stops, to get to Unheungsa Temple, while the other bus takes about 40 minutes.
Overall Rating: 7/10
While smaller in size, and with only a handful of shrine halls, Unheungsa Temple still has more than enough for visitors to enjoy including the five provincial treasures and the pair of Korean Treasures. The interior of the Daeung-jeon Hall is filled with Buddhist artistic excellence including the main altar triad, the Gamno-do, and the shaman murals. Additionally, the statues inside both the Yeongsan-jeon Hall and the Myeongbu-jeon Hall are stunning as well. Unheungsa Temple has undergone a fair amount of reconstruction over the past decade, and it has only helped elevate the temple that much higher in its overall beauty and overall aesthetic.
The Daeung-jeon Hall (left) and Myeongbu-jeon Hall (right).
A look inside the Daeung-jeon Hall at the main altar.
The paintings to the left of the main altar that include the Shinjung Taenghwa (Guardian Mural), a Chilseong (Seven Stars) painting, and a replica of the “Hanging Painting and Storage Chest of Unheungsa Temple.”
A nun praying in front of the historic Gamno-do (Sweet Dew Mural) inside the Daeung-jeon Hall.
One of the Geumgang-yeoksa (Vajra Warriors) inside the Myeongbu-jeon Hall.
Four of the Siwang (The Ten Kings of the Underworld) inside the Myeongbu-jeon Hall.
The Sanshin-gak Hall located between the Daeung-jeon Hall and the Myeongbu-jeon Hall.
The beautiful, modern mural dedicated to Sanshin (The Mountain Spirit) inside the Sanshin-gak Hall.
The Yeongsan-jeon Hall at Unheungsa Temple.
The main altar inside the Yeongsan-jeon Hall.
And a collection of some of the Nahan (The Historical Disciples of the Buddha) inside the Yeongsan-jeon Hall, as well.
The View from Wonhyoam Hermitage in Yangsan, Gyeongsangnam-do.
Hermitage History
Wonhyoam Hermitage, which is one among eight hermitages with the same name in Korea, is located in Yangsan, Gyeongsangnam-do on the western slopes of Mt. Cheonseongsan (920.1 m), which means “A Thousand Saints Mountain” in English. In fact, the hermitage is situated at 900 metres above sea level. The hermitage is named after the famed monk Wonhyo-daesa (617-686 A.D.), who lived and taught in the area. It’s said that Wonhyo-daesa first established Wonhyoam Hermitage in 646 A.D., which is also the very same year that neighbouring Tongdosa Temple was first established, as well.
As to how Wonhyo-daesa first came to the region, there’s a rather interesting legend. According to a legend written in the “Songgoseungjeon” (僧傳 宋), there were 1,000 Chinese monks worshiping at Taehwasa Temple in Tang China (618–690, 705–907 A.D.). They were in danger of being buried at the temple because of torrential rain and the potential for a landslide. Upon realizing this, Wonhyo-daesa threw a wooden board up into the air. The monks saw this strange board in midair and thought that it was rather mysterious. As a result, they all ran out of the shrine hall. After they had all exited the temple, a landslide destroyed the shrine hall. However, because of the wooden signboard, which read “Throwing the board, Wonhyo saves the people,” Wonhyo-daesa did in fact save the one thousand monks at the temple. Because of this, the one thousand monks sought Wonhyo-daesa. These one thousand monks would eventually become Wonhyo-daesa’s one thousand disciples.
After arriving on the Korean Peninsula, Wonhyo-daesa went in search of a place to stay with his 1,000 disciples. Eventually, they would arrive at Mt. Cheonseongsan. Here, they were greeted by Sanshin (The Mountain Spirit), who guided them to the general area of where Naewonsa Temple was eventually built. After guiding Wonhyo-daesa and his disciples, the Mountain Spirit quickly disappeared. In addition to Naewonsa Temple and Wonhyoam Hermitage, there were a total of some 89 temples or hermitages built in the area; however, most of these 89 temples were lost during the late Joseon Dynasty (1392-1910) caused by flooding. And now, only a few them remain including Wonhyoam Hermitage.
Eventually Wonhyoam Hermitage would fall into disrepair and be rebuilt by the monk Hyo-eun in 1905. In 1976, the Jong-ru Pavilion was built. And during the 2010s, the hermitage underwent a large scale rebuild with the construction of the Daeung-jeon Hall and a Samseong-gak Hall.
Interestingly, the hermitage has a rather fascinating modern story attached to it, as well. In the summer of 1991, a thunderstorm without rain erupted around the hermitage for two hours. A fireball from this storm struck Saja-bong (Lion Peak), which is located east of Wonhyoam Hermitage. As a result of this lightning strike, a blackened figure was discovered on the rocks by hikers the next day. The image that was formed by the strike looked similar to the image of a Buddha, Yaksayeorae-bul. Later, the abbot of Tongdosa Temple, Wolha, saw the image and named it “Cheonwang Yaksayeorae,” which means “Heavenly Light Buddha of Medicine.” It was named this because Yaksayeorae-bul resides in the Eastern Paradise, which is where the lightning struck near Wonhyoam Hermitage.
You’ll first approach Wonhyoam Hermitage up a very long mountain road that’s nearly eight kilometres in length. Along the way, you’ll get some breathtaking views along the way. The road is especially beautiful in the spring when the azaleas are in bloom and during the fall when the trees are changing into their autumnal hues. Eventually, you’ll come to a parking lot for hikers. Mt. Cheonseongsan is a very popular mountain for hikers. But it’s beyond this parking lot, and to the north, that you’ll find a gravel road that leads up to Wonhyoam Hermitage.
The first thing to capture your attention along the way is the elevated Jong-ru Pavilion. The exterior of the bell pavilion is adorned with vibrant dancheong colours and images of a yellow and blue dragon. And housed inside the Jong-ru Pavilion is a large Brahma Bell. It’s also in this area behind the Jong-ru Pavilion, that you’ll see a sign leading up to a shrine in the forested mountain area. In total, there are 108 stairs that lead up to the shrine that houses the “Cheonwang Yaksayeorae.”
Back at the bell pavilion and nearing a bend in the gravel road, you’ll find the newly built Daeung-jeon Hall at Wonhyoam Hermitage. But before entering the Daeung-jeon Hall, you might have noticed a little rock outcropping that’s off-limits to the general public. This is purportedly where Wonhyo-daesa used to meditate. And it’s not surprising considering the amazing view of the city of Yangsan below that you get to enjoy from this vantage point. In fact, out in front of the Daeung-jeon Hall, there’s a look-out that you can safely look down upon the city of Yangsan.
Surrounding the Daeung-jeon Hall are a collection of larger sized modern statues. And surrounding the exterior walls of the recently built Daeung-jeon Hall, you’ll find a wonderful collection of paintings dedicated to Wonhyo-daesa and his life. The exterior walls are also adorned with various flower murals like lotus flowers and peonies, as well as Bicheon (Flying Heavenly Deities), and Gwimyeon (Monster Masks).
Stepping inside the Daeung-jeon Hall, you’ll find the “Seated Stone Statue of Yaksayeorae-bul and Concealed Objects” resting on the main altar in the centre of a triad. The statue is a 77 cm tall stone statue of Yaksayeorae-bul. According to the dedication on the statue, it was originally enshrined in the Yaksa-jeon Hall at Tongdosa Temple and later moved to Wonhyoam Hermitage. This statue bows its head slightly forward and hunches it back somewhat. The palm of its right hand is down in the “Touching the Earth Mudra.” The left hand is naturally proportioned, but the thumb of the right hand is shorter and the side is a bit thicker. The head is rather small compared to its body. The folds of the monastic robe hangs over its two knees, which are in a lotus position. The robe is rather thick, which is one of the characteristics of Buddhist statues from the latter half of the Joseon Dynasty (1392-1910). It’s believed that the statue dates back to 1648 based upon the writing found on the statue. The objects found inside the statue include a dedication document, a sutra, a case that contained five grains, five incenses, and five color strands of material.
To the right of the Daeung-jeon Hall is an outdoor shrine that looks like it’s nothing more than a platform and a large boulder. However, etched on this large stone is the “Yangsan Wonhyoam Hermitage Amita-bul Triad Relief.” This triad has Amita-bul (The Buddha of the Western Paradise) at the centre of the triad and joined by Gwanseeum-bosal (The Bodhisattva of Compassion) and Daesaeji-bosal (The Bodhisattva of Wisdom and Power for Amita-bul). This triad is in low relief. The lower half of the Amita-bul image looks much longer than the upper half to give an overall impression of stability. The flanking Bodhisattvas make a mudra that symbolizes adoration towards the central Buddha. Each of the images has a circular nimbus. The two Bodhisattvas give the triad an overall symmetry. Above the triad you’ll find an inscription which reads “Namu Amita-bul.” According to an inscription to the right of Daesaeji-bosal, it states “Sejon Eunghwa 2933” (of the Buddhist calendar, which makes it 1906 of the Gregorian calendar).
To the left of the Daeung-jeon Hall, on the other hand, is the hermitage’s kitchen, monks’ dorms, abbot’s quarters, and administrative offices. It’s behind the main hall that you’ll find the final shrine hall at Wonhyoam Hermitage. Up a set of stairs, and at a bit of an angle to fit the mountain’s curves, you’ll find the Samseong-gak Hall. The exterior walls of this shaman shrine hall are adorned with two stunning murals. The first is a ferocious tiger, while the other is dedicated to the smoking tiger mural. Stepping inside the Samseong-gak Hall, you’ll find vibrant high-relief wood altar pieces dedicated to Sanshin (The Mountain Spirit), Chilseong (The Seven Stars), and Dokseong (The Lonely Saint). In addition to these reliefs, you’ll find two murals dedicated to Uisang-daesa (625-702 A.D.) and Wonhyo-daesa. Also tucked away in a corner, and seen through a pane of glass, is a stone statue dedicated to Yongwang (The Dragon King).
How To Get There
Like a lot of smaller hermitages or temples, this hermitage is a bit of a chore to get to and find. You can take Bus #12 or Bus #12-1 headed towards Tongdosa Temple. You’ll need to get off at Daeseok Village. This area is around the more famous Hongryongsa Temple. The hermitage has a shuttle bus that ventures up the long mountain road. The shuttle bus can be found out in front of the Wonhyoam Hermitage shop. And this shuttle bus leaves four times a day at 9 a.m., 10 a.m., 11 a.m., and 1 p.m. Otherwise, it’s a long eight kilometres up to the hermitage.
Overall Rating: 6/10
Wonhyoam Hermitage has a stunning view of the city of Yangsan down below from the heights of Mt. Cheonseongsan. In addition to the views, you can also enjoy the two provincial treasures inside the newly built Daeung-jeon Hall and the 1906 low-relief of Amita-bul on the face of the mountain. The wood reliefs inside the Samseong-gak Hall are stunning as are the two tiger paintings that adorn the exterior walls of the shaman shrine hall. Wonhyoam Hermitage is a beautiful blend of nature and Buddhist artistry that should definitely be enjoyed.
A rock outcropping where Wonhyo-daesa purportedly once meditated.
The colourful Jong-ru Pavilion at Wonhyoam Hermitage.
The pathway and stairs leading up to the “Cheonwang Yaksayeorae.”
The shrine and rock that is the “Cheonwang Yaksayeorae.”
The newly built Daeung-jeon Hall.
One of the half dozen murals dedicated to Wonhyo-daesa that adorns the exterior walls of the Daeung-jeon Hall.
A mural of Hyegong and Wonhyo-daesa’s illustrating the tale about “my fish.” The tale states that one day, while attempting to revive two fish that had been swimming in the neighbouring lake, one of these two fish came back to life. Both claimed that they were the one to revive the fish.
The mural illustrating Wonhyo-daesa’s enlightenment.
Wonhyo-daesa teaching some of his 1,000 disciples.
Wonhyo-daesa saving the lives of monks at Taehwasa Temple in Tang China.
The main altar triad inside the Daeung-jeon Hall that includes the central image of the “Seated Stone Statue of Yaksayeorae-bul and Concealed Objects.”
A wood relief of a Shinjung Taenghwa (Guardian Mural) inside the main hall.
The “Yangsan Wonhyoam Hermitage Amita-bul Triad Relief.”
The Samseong-gak Hall to the rear of the Daeung-jeon Hall.
The smoking tiger mural that adorns one of the exterior walls of the Samseong-gak Hall.
A look inside the Samseong-gak Hall with a relief of Chilseong (The Seven Stars) to the right, Sanshin (The Mountain Spirit) in the middle, and a stone image of Yongwang (The Dragon King) through a window to the left.
A closer look at the wood relief of the Mountain Spirit.
A painting of Uisang-daesa (625-702 A.D.) housed inside the Samseong-gak Hall.
And joined by this painting of Wonhyo-daesa the founder of the hermitage and its namesake.
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