The “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” in Jecheon, Chungcheongbuk-do.
Pagoda History
The “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” is located in the southern foothills of Mt. Malmoesan (688.6 m) and along Dongsan Valley near a river in Jecheon, Chungcheongbuk-do. According to the inscription on the base, the pagoda was first erected in 1022 in the early part of the Goryeo Dynasty (918-1392). Additionally, the pagoda is located on the former Binsinsa-ji Temple Site. The pagoda was originally built to help prevent another invasion by the Khitan. In total, there had already been three invasions that took place in 993 A.D., 1010, and 1018-1019 during the Goryeo–Khitan War. So it’s rather obvious why Goryeo would do anything and everything to prevent another destructive incursion by the Khitan.
The “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” is Korean Treasure #94; and if it could be argued that a Korean Treasure should be a National Treasure, it’s probably this pagoda.
The “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” in 1921. (Picture courtesy of the National Museum of Korea).
Pagoda Design
You first approach the pagoda up a set of uneven stone stairs. The “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” is located in a clearing next to country homes. This pagoda, at least a first glance, looks similar to the “Four Lion Three-Story Stone Pagoda of Hwaeomsa Temple.” However, the pagoda at Hwaeomsa Temple is significantly larger in size than this one. While Hwaeomsa Temple pagoda stands 7.1 metres in height, this pagoda is 4.5 metres in height. Another key difference is that the “Four Lion Three-Story Stone Pagoda of Hwaeomsa Temple” dates back to the seventh to mid-eighth century, while the “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” dates back to 1022.
Overall, the “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” consists of a base, a four-story main body supported by four lions, and a roof stone. The base of the pagoda is comprised of three distinct stones. The lowest part of the pagoda is a foundation stone. Above this is a smaller square stone with carvings of lotus flowers on it (three each on the four sides of the pagoda). And above this stone is an even smaller stone with an inscription on it. This inscription indicates when and why the pagoda was initially made.
Above these base stones is the most unique feature of the pagoda: the four lions that support the weight of the upper portion of the pagoda. The four lions are meant to represent the four human emotions of anger, joy, sorrow and love. The four lions are far more compact than the rather elongated images of the “Four Lion Three-Story Stone Pagoda of Hwaeomsa Temple.” All four at the Jecheon pagoda are well preserved. And at the centre of the pagoda, instead of a monkish-figure like at Hwaeomsa, the central image to the “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” is Birojana-bul (The Buddha of Cosmic Energy). Like the lions, the image of Birojana-bul is compact and a little chubby. The statue of Birojana-bul presents the “Wisdom Fist” mudra (ritualized hand gesture). And above the image of Birojana-bul is a beautiful stone relief of a lotus flower.
A single flat square rests atop the heads of the four lions. And above this thin flat stone are four body stones. Originally, the pagoda stood nine stories in height, but the centuries have removed five of these stories. In addition, the finial to the pagoda is long gone.
How To Get There
The “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” is located in one of the more remote parts of Korea. As a result, the best way to get to the pagoda is by car. But if you don’t own your own car, taxi is the next best choice over a two and a half bus ride; however, the taxi ride isn’t cheap. From the Chungju Bus Terminal, to get to the “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site,” it’ll cost you 40,000 won (one way) over 33 km.
Overall Rating: 4/10
The pagoda is a wonderful example of Korean Buddhist artistry in the same tradition of pagodas as those found at Hwaeomsa Temple and the “Four Lion Three-Story Stone Pagoda in Gwaeseok-ri.” While not as grand as the one found at Hwaeomsa Temple, the “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” is wonderfully preserved. In addition, it has a rather surprising statue of Birojana-bul at the heart of the pagoda. The lions are fierce and the location is beautiful.
The small river that flows out in front of the pagoda in Dongsan Valley.
As you first approach the pagoda.
The “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” as you first approach it.
A different look.
The inscription at the base of the pagoda that indicates when it was built and how many stories it once stood.
At the centre of the four lions is this statue of Birojana-bul (The Buddha of Cosmic Energy).
An up-close of Birojana-bul under a stone relief of a lotus flower.
One of the four lions that supports the weight of the pagoda with Birojana-bul in the background.
The “Four Lion Nine-Story Stone Pagoda at Sajabinsinsa Temple Site” from behind.
The backside of Birojana-bul.
A look up at four of the nine still remaining body stones.
"Rice" is a word that might be difficult to translate into Korean, only because there are so many different ways to translate it depending on what type of rice you mean. For example, you might call uncooked rice 쌀, and cooked rice 밥, and different words for different types of rice. Here are all of the most important ones I've found, and which you should definitely learn.
Two Monks in front of the Daeung-jeon Hall and next to a Stone Lantern at Jikjisa Temple. (Picture Courtesy of the National Museum of Korea).
Temple History
Jikjisa Temple, which means “Finger Pointing Temple” in English, sits at the base of Mt. Hwangaksan (1111.3m) in Gimcheon, Gyeongsangbuk-do. The temple is scenically located with quiet forests, towering mountain peaks, and rolling streams. According to temple legend, Jikjisa Temple was built in 418 A.D. by the monk Ado-hwasang. There are three theories as to how the temple got its name. The first states that after first seeing the location, Ado-hwasang pointed to a spot on the mountain and said that a large temple should be built at its base. The second story states that in 936 A.D., Master Neungyeo, while reconstructing the temple, instead of using a ruler to measure the land and the construction materials, used his hands to measure. And the third story refers to Seon Buddhism teaching and “pointing directly” to the Original Mind (Buddha Nature).
As for Ado-hwasang, he was a famed missionary from the Goguryeo Kingdom (37 B.C. – 668 A.D.). He’s sometimes credited with first introducing Buddhism to the Silla Kingdom (57 B.C. – 935 A.D.). Buddhism was formally accepted in the Silla Kingdom in 527 A.D., but this didn’t stop Ado-hwasang from helping to introduce and popularize Buddhism inside the Silla borders. If true, and the temple does in fact date back to 418 A.D., it makes Jikjisa Temple one of the oldest temples on the Korean Peninsula.
While originally much smaller in size, the temple was later rebuilt and expanded by Jajang-yulsa (590-658 A.D.) in 645 A.D. during the reign of Queen Seondeok (r.632-647 A.D.). The temple was expanded to an amazing forty buildings. During King Taejo of Joseon’s reign, from 1392 to 1398, the temple became the largest in East Asia. However, during the extremely destructive Imjin War (1592-98), numerous military monks from Jikjisa Temple, known as the Righteous Army, took up armed resistance against the invading Japanese. As a reprisal, Jikjisa Temple was burned to the ground by the Japanese. In 1602, after the war, Jikjisa Temple was rebuilt; but this time, with only twenty buildings (half of its former size). Throughout the centuries, the temple has been expanded numerous times up until the 1980’s. Now, Jikjisa Temple is one of the eight largest temples in Korea, and its grounds are home to an additional five hermitages. Jikjisa Temple is home to five Korean Treasures.
Colonial Era Photography
It should be noted that one of the reasons that the Japanese took so many pictures of Korean Buddhist temples during Japanese Colonial Rule (1910-1945) was to provide images for tourist photos and illustrations in guidebooks, postcards, and photo albums for Japanese consumption. They would then juxtapose these images of “old Korea” with “now” images of Korea. The former category identified the old Korea with old customs and traditions through grainy black-and-white photos.
These “old Korea” images were then contrasted with “new” Korea images featuring recently constructed modern colonial structures built by the Japanese. This was especially true for archaeological or temple work that contrasted the dilapidated former structures with the recently renovated or rebuilt Japanese efforts on the old Korean structures contrasting Japan’s efforts with the way that Korea had long neglected their most treasured of structures and/or sites.
This visual methodology was a tried and true method of contrasting the old (bad) with the new (good). All of this was done to show the success of Japan’s “civilizing mission” on the rest of the world and especially on the Korean Peninsula. Furthering this visual propaganda was supplemental material that explained the inseparable nature found between Koreans and the Japanese from the beginning of time.
To further reinforce this point, the archaeological “rediscovery” of Japan’s antiquity in the form of excavated sites of beautifully restored Silla temples and tombs found in Japanese photography was the most tangible evidence for the supposed common ancestry both racially and culturally. As such, the colonial travel industry played a large part in promoting this “nostalgic” image of Korea as a lost and poor country, whose shared cultural and ethnic past was being restored to prominence once more through the superior Japanese and their “enlightened” government. And Jikjisa Temple played a large part in the the propagation of this propaganda, especially since it played such a prominent role in Korean Buddhist history and culture. Here are a collection of Colonial era pictures of Jikjisa Temple through the years.
The Geukrakbo-jeon Hall at Muwisa Temple during Japanese Colonial Rule (1910-45). (All Pictures Courtesy of the National Museum of Korea).
Temple History
Muwisa Temple is located in the southern portion of the picturesque Wolchulsan National Park in Gangjin, Jeollanam-do. According to both the Cultural Hermitage Administration website and the Muwisa Sajeok, or “The History of Muwisa Temple” in English, the temple was first built in 617 A.D. by the famed monk Wonhyo-daesa (617-686 A.D.). It was named Gwaneumsa Temple (The Bodhisattva of Compassion Temple). But this is hard to believe for a couple of reasons. First, Wonhyo-daesa would have been just a one year old when he first built Muwisa Temple. Additionally, Wonhyo-daesa was a Silla monk. The Silla Kingdom (57 B.C. – 935 A.D.) was in open conflict, and eventual war, with the Baekje Kingdom (18 B.C. – 660 A.D.), which is where Muwisa Temple was located.
What is perhaps more plausible, but still questioned by some, is that Muwisa Temple was first established by Doseon-guksa (826-898 A.D.) in 875 A.D. At this time, the temple was called Galoksa Temple. Whatever the case may be, Muwisa Temple was definitely established by the early 10th century by Seongak-daesa (864-917). Muwisa Temple grew into a major Seon Buddhist temple in the early part of the Goryeo Dynasty (918-1392).
Before the 10th century, the name of the temple changed once more, this time, to Muwigapsa Temple, and it became a Seon temple. Later on, the temple would become a Cheontae temple with the growing popularity of the Cheontae teachings in the 11th century. According to the Muwisa Sajeok, or “The History of Muwisa Temple” in English, Muwisa Temple fell into disrepair and was rebuilt and renamed Suryuksa Temple, which literally means “Water Land Temple” in English. The reason for this change of name is that historians believe that the temple became a site for the ceremony for the rites of the dead known as the “Suryuk-je – 수륙재” in Korean. This is a Buddhist ritual to help console the spirits of the dead. Specifically, it was a ritual for the war dead, both friendly and foe, that couldn’t reincarnate. This helps to explain why the main hall, the Geukrakbo-jeon Hall, at Muwisa Temple is dedicated to Amita-bul (The Buddha of the Western Paradise). The present Geukrakbo-jeon Hall was built in 1430 A.D.
In 1550, during the mid-Joseon Dynasty (1392-1910), the temple was rebuilt and renamed Muwisa Temple by the monk Taegam. Tragically, Muwisa Temple was destroyed, in part, by fire during the Imjin War (1592-1598). Fortunately, the Geukrakbo-jeon Hall was spared.
In 1934, the Geukrakbo-jeon Hall became National Treasure #13 during Japanese Colonial Rule (1910-1945). And in 1974, after years of only having a handful of temple buildings, new construction took place at Muwisa Temple. In total, Muwisa Temple is home to two National Treasures and an additional four Korean Treasures.
Colonial Era Photography
It should be noted that one of the reasons that the Japanese took so many pictures of Korean Buddhist temples during Japanese Colonial Rule (1910-1945) was to provide images for tourist photos and illustrations in guidebooks, postcards, and photo albums for Japanese consumption. They would then juxtapose these images of “old Korea” with “now” images of Korea. The former category identified the old Korea with old customs and traditions through grainy black-and-white photos.
These “old Korea” images were then contrasted with “new” Korea images featuring recently constructed modern colonial structures built by the Japanese. This was especially true for archaeological or temple work that contrasted the dilapidated former structures with the recently renovated or rebuilt Japanese efforts on the old Korean structures contrasting Japan’s efforts with the way that Korea had long neglected their most treasured of structures and/or sites.
This visual methodology was a tried and true method of contrasting the old (bad) with the new (good). All of this was done to show the success of Japan’s “civilizing mission” on the rest of the world and especially on the Korean Peninsula. Furthering this visual propaganda was supplemental material that explained the inseparable nature found between Koreans and the Japanese from the beginning of time.
To further reinforce this point, the archaeological “rediscovery” of Japan’s antiquity in the form of excavated sites of beautifully restored Silla temples and tombs found in Japanese photography was the most tangible evidence for the supposed common ancestry both racially and culturally. As such, the colonial travel industry played a large part in promoting this “nostalgic” image of Korea as a lost and poor country, whose shared cultural and ethnic past was being restored to prominence once more through the superior Japanese and their “enlightened” government. And Muwisa Temple played a part in the propagation of this propaganda, especially since it played such a prominent role in Korean Buddhist history and culture. Here are a collection of Colonial era pictures of Muwisa Temple through the years.
And another look up at the eaves and outside crumbling walls.
A look inside the Geukrakbo-jeon Hall at the main altar which is a Korean Treasure, the Seated Amitabha Buddha Triad of Muwisa Temple.
A closer look at the Amita-bul (The Buddha of the Western Paradise) statue.
A closer look at the Jijang-bosal (The Bodhisattva of the Afterlife) statue.
And a closer look at the Gwanseeum-bosal (The Bodhisattva of Compassion) statue on the main altar.
The sumidan (main altar) that supports the Seated Amitabha Buddha Triad of Muwisa Temple.
Rather uniquely, the main altar doesn’t have a datjib (canopy); instead, it has this twisting dragon mural above the main altar.
A look at some of the murals inside the Geukrakbo-jeon Hall that are considered a Korean Treasure, the Mural Paintings in Geungnakjeon Hall of Muwisa Temple.
And the Mural Painting in Geungnakjeon Hall of Muwisa Temple, Gangjin (Amitabha Buddha Triad), which is a National Treasure.
A look around the Geukrakbo-jeon Hall.
Pictures of Colonial Era Muwisa Temple
1934
The amazing main altar inside the Geukrakbo-jeon Hall at Muwisa Temple.
A look around the main hall at some of the amazing murals.
Another look at the Mural Paintings in Geungnakjeon Hall of Muwisa Temple.
And another look at the Mural Painting in Geungnakjeon Hall of Muwisa Temple, Gangjin (Amitabha Buddha Triad).
Another Korean Treasure at Muwisa Temple, the Stele for Buddhist Monk Seongak at Muwisa Temple.
A tilted three-story pagoda at Muwisa Temple.
Pictures of Colonial Era Muwisa Temple
Specific Dates Unknown (1909-1945)
A stone wall in front of the Geukrakbo-jeon Hall.
A look over the stone wall at the Geukrakbo-jeon Hall.
The signboard to the Geukrakbo-jeon Hall.
Some of the murals inside the Geukrakbo-jeon Hall.
A look up at the ceiling inside the Geukrakbo-jeon Hall.
Some more of the murals inside the Geukrakbo-jeon Hall.
The tilted three-story pagoda at Muwisa Temple.
The Stele for Buddhist Monk Seongak at Muwisa Temple.
The Stele for Buddhist Monk Seongak at Muwisa Temple cleaned-up.
My son Jeremy is 7 years old, and speaks both Korean and English. You may have seen him in one or two of my videos in the past, but recently he started asking me to let him appear in more videos together. For this video he wanted to make watermelon punch (수박화채), which is made of watermelon, lemon/lime soda, and various fruits. I think I appear in this video for less than a minute. Most of it he did himself as you can see, except for cutting the watermelon which I did for him, as well as all of the cleanup afterwards.
The View from Baekunam Hermitage on the Tongdosa Temple Grounds in Yangsan, Gyeongsangnam-do.
Hermitage History
Baekunam Hermitage is one of the numerous hermitages located on the Tongdosa Temple grounds in Yangsan, Gyeongsangnam-do. Unlike all the other hermitages at Tongdosa Temple, however, Baekunam Hermitage is located halfway up Mt. Yeongchuksan instead of in the foothills of the mountain. Baekunam Hemritage means “White Cloud Hermitage” in English, and it was first established in 892 A.D. in the waning years of Unified Silla (668-935 A.D.) by the monk Jo-Il.
There is not much known about the hermitage from the time it was first established until the early part of the 19th century, when Baekunam Hermitage was reconstructed in 1810 by the monk Chimheo. The hermitage has been home to numerous well-known monks including Mangong (1871-1946). In 1901, while Mangong was an itinerant monk, he traveled to Baekunam Hermitage. It was here that one day, while caught at the hermitage for a month during monsoon season, Mangong gained enlightenment. While meditating, Mangong heard the sound of the morning bell, and the world and universe appeared to him in its original form.
More recently, the hermitage was expanded in 1970 by the monk Gyeongbong. Additionally, Baekunam Hermitage is home to one Gyeongsangnam-do Cultural Heritage Material. More specifically, this is the “Jijang-bosal Taenghwa” from 1804.
Hermitage Layout
When you finally do arrive at the ridge where Baekunam Hermitage is located, you’ll first be greeted by the public bathroom. A little further up the mountain, and to your right, is the hermitage’s kitchen. A bit further past the kitchen is the hermitage’s main hall. The Geukrak-jeon Hall is located in a narrow courtyard reminiscent of the one found at neighbouring Jajangam Hermitage. The view of the valley below is simply stunning. As for the Geukrak-jeon Hall, the main hall is adorned in traditional dancheong colours. Stepping inside the Geukrak-jeon Hall, you’ll find a diminutive statue dedicated to Amita-bul (The Buddha of the Western Paradise) sitting all alone on the main altar. To the left of the main hall is a shrine dedicated to a green haired Jijang-bosal (The Bodhisattva of the Afterlife). And to the left of this shrine is a little shrine with sixteen statues dedicated to the Nahan (The Historical Disciples of the Buddha). To the right of the main altar, on the other hand, is a vibrant Shinjung Taenghwa (Guardian Mural). This mural has a crowning three-sided head with light emanating from its central eye. Joining this image is a serenely smiling image of Dongjin-bosal (The Bodhisattva that Protects the Buddha’s Teachings).
Next to the main hall, and to the left, is a Yongwang-dang Hall. The exterior to this shaman shrine hall is left plain, while there is a rather cute three frog water fountain with a baby Buddha at the hall’s side. Inside the Yongwang-dang Hall is a seated stone image dedicated to Yongwang (The Dragon King). The image of Yongwang is seated on top of a tank filled with mountain water.
Between the Yongwang-dang Hall and the Geukrak-jeon Hall is the hermitage’s Samseong-gak Hall. Housed inside this shaman shrine hall are three murals dedicated to Chilseong (The Seven Stars), Dokseong (The Lonely Saint), and Sanshin (The Mountain Spirit). Like the other two shrine halls at Baekunam Hermitage, the exterior walls to the Samseong-gak Hall are simply painted in traditional dancheong.
The final thing at Baekunam Hermitage, which is off-limits to visitors, are the monks’ dorms that are located across a bamboo bridge next to the Yongwang-dang Hall.
How To Get There
From Busan, you’ll first need to get to the Nopo subway stop, which is stop #134. From there, go to the intercity bus terminal. From the intercity bus terminal get a bus bound for Tongdosa Temple. The ride should last about 25 minutes. The buses leave every 20 minutes from 6:30 a.m. to 9:00 p.m. From where the bus drops you off at the Tongdosa Temple bus stop, you’ll need to walk an additional 10 minutes to the temple grounds west of the bus stop.
From Tongdosa Temple, you’ll need to continue up the main road for another 700 metres until you come to a fork in the road. Instead of heading straight, turn right and continue heading in this direction for 2.5 km. The road forks to the left and right. To the left is Jajangam Hermitage and to the right is Baekunam Hermitage. Follow the fork that heads right. First, you’ll pass by Geukrakam Hermitage and then Biroam Hermitage. Follow this road that eventually becomes a trail for 1.2 kilometres until you arrive at Baekunam Hermitage.
Overall Rating: 5.5/10
Baekunam Hermitage has the most beautiful of views of all the hermitages on the Tongdosa Temple grounds. While the hermitage doesn’t have the most outstanding of shrine halls, they shouldn’t be overlooked either. Definitely have a look for the Shinjung Taenghwa (Guardian Mural) inside the Geukrak-jeon Hall and the murals housed inside the Samseong-gak Hall, as well. While a bit more difficult to get to because of the hike, the views are well worth the effort to get to Baekunam Hermitage.
The start of the hike leading up to Baekunam Hermitage.
Part of the stony trail.
The Geukrak-jeon Hall at Baekunam Hermitage.
The stunning view from the hermitage courtyard out in front of the Geukrak-jeon Hall.
A look inside the Geukrak-jeon Hall.
The shrine dedicated to the Nahan (The Historical Disciples of the Buddha) inside the main hall.
The Shinjung Taenghwa (Guardian Mural) inside the Geukrak-jeon Hall.
The Yongwang-dang Hall (foreground) and the Samseong-gak Hall (background).
A look inside the Yongwang-dang Hall at Yongwang (The Dragon King).
The mural dedicated to Sanshin (The Mountain Spirit) inside the Samseong-gak Hall.
And the mural dedicated to Chilseong (The Seven Stars) inside the Samseong-gak Hall, as well.
The final mural inside the shaman shrine hall is dedicated to Dokseong (The Lonely Saint).
하마터면 is used together with the grammar form 뻔하다 ("almost" or "barely") to add emphasis to this form. Another word that's also used together with 뻔하다 is the verb 자칫하다, as either 자칫하면 or 자칫했더라면. This is an advanced Korean level live stream.
It's time for another Hanja episode! (I have more of these Hanja lessons on the way). This time I'll be explaining how to use the Hanja 道 (도), which means a "way" or a "road." Where have you seen this Hanja used before?
The View from the Upper Courtyard at Baengnyeonsa Temple in Gangjin, Jeollanam-do.
Temple History
Baengnyeonsa Temple is located in the southern foothills of Mt. Mandeoksan (412.1 m) in Gangjin, Jeollanam-do. And the temple looks out beautifully towards the bay and Wando off in the distance. The name of the temple means “White Lotus Temple” in English, and it’s believed to have first been constructed in 839 A.D. by Muyeom-guksa (801-888 A.D.). The original name of the temple, however, was Mandeoksa Temple. Gradually the temple fell into disrepair caused by the efforts of Japanese pirates that were pillaging the coastal areas throughout the Korean Peninsula. The temple was eventually reconstructed in 1170 by the monk Yose. The temple was further expanded and reconstructed in 1426, when the abbot of the temple, Haengho, carried out a second reconstruction. A large-scale reconstruction of the temple began in 1430 through the support of Grand Prince Hyoryeong (1396-1486). Grand Prince Hyoryeong would abdicated the throne to his younger brother, King Sejong the Great (r. 1418-1450). After Grand Prince Hyoryeong reliquished the throne, he lived at Baengnyeonsa Temple for eight years, while also touring the area. It’s finally in the 19th century that Mandeoksa Temple came to be known as Baengnyeonsa Temple.
Jeong Yak-yong (Dasan), Tea, and Baengnyeonsa Temple
Baengnyeonsa Temple has a rather interesting connection to Jeong Yak-yong (1762-1836) the poet and philosopher, who was also known under his pen-name of Dasan (Tea Mountain), and the 19th century tea revival that took place during the Joseon Dynasty (1392-1910).
With the sudden death of King Jeongjo of Joseon (r. 1776-1800) in the summer of 1800, the new king, King Sunjo of Joseon (r. 1800-1834) ascended the throne. The only problem with this is that King Sunjo was only 11 years old. As a result, the power of the throne shifted to the widow of King Jeongjo, Queen Dowager Kim, or Queen Jeongsun (1745-1805). Queen Jeongsun belonged to a group that were opposed to the reformist Namin group, who were often Catholic. During the reign of her husband, she had been powerless to confront this reformist movement. But now in power, she launched an attack against the Catholics in Korea, who were denounced as traitors and enemies of the state. The older brother of Jeong Yak-yong, Jeong Yak-jong (1760-1801), was the head of the Catholic community at this time. As a result, the older brother was one of the first to be arrested and executed in the spring of 1801. A month later, Jeong Yak-jong’s eldest son, Jeong Cheol-sang, would be executed, as well.
What does this all have to do with Jeong Yak-yong? Well, as the younger brother of Jeong Yak-jong, Jeong Yak-yong was exiled several months later to Pohang. While in Pohang, Jeong was interrogated and tortured. While being tortured, it was discovered that Jeong wasn’t a Catholic. This saved Jeong from being executed, but it didn’t save him from further exile.
Jeong’s exile began in the waning days of 1801. It was in December, 1801 that Jeong arrived in Gangjin, Jeollanam-do. Jeong arrived with no money and no friends. Because of his situation, he lived in the back room of a rundown tavern kept by a widow until 1805.
By 1805, Queen Jeongsun would die and King Sunjo of Joseon came of age. This brought an end of the violence towards Catholics in Korea. This allowed Jeong to move freely in the Gangjin area in the spring of 1805. It was at this time that Jeong traveled to Baengnyeonsa Temple. It was during this journey that he met the newly arrived abbot of the temple, Hyejang. The two talked and Hyejang realized who the visitor actually was. The two quickly became close companions.
Later in 1805, Hyejang made it possible for Jeong to move out of the tavern and take up residence at a small hermitage near Goseongsa Temple. Then by the spring of 1808, Jeong took up residence in a house belonging to a distant relative of his mother on the slopes of a hill overlooking Gangjin and the neighbouring bay. He would spend the next ten years in this house until the fall of 1818. This house still exisits, and it’s known as the “Dasan Chodang.” Additionally, the hill behind his house was known locally as Da-san, or “Tea Mountain” in English. Dasan is the name that Jeong is better known as. At his house, Jeong would teach students, write, and read from his library of over a thousand books. In total, Jeong would write over 500 works.
Eventually Jeong would return to the family home near the Han River in Seoul. Jeong would die in 1836.
As for Jeong’s relationship to the resurgence in the 19th century tea revival, it was while living in Gangjin, and through his friendship with Hyejang, that things would change. Hyejang had just arrived at Baengnyeonsa Temple from Daeheungsa Temple. For a few years, Jeong’s health had suffered due to poor nutrition. Jeong suffered from chronic digestive problems. And it was through tea that he was able to help alleviate some of these problems. So in a poem from Jeong to Hyejang in the 4th month of 1805, Jeong asks for some tea leaves from the hill above Baengnyeonsa Temple. Because of Hyejang having traveled to Baengnyeonsa Temple from the tea-rich environs of Daeheungsa Temple in Haenam, Jeollanam-do, it was once thought that Hyejang taught Jeong about tea; however, from a series of poems exchanged between the two, it seems as though it was Hyejang that learned how to make a kind of caked tea from Jeong.
In 1809, the monk Choui-seonsa (1786-1866), who was also from Daeheungsa Temple, came to Gangjin to visit Jeong for a few months. There, Choui learned from Jeong. Later, and in 1830, Choui who, during a visit to Seoul, shared his tea with a number of scholars. Rather remarkably, a letter about Jeong’s method of making caked tea has survived. This letter is dated 1830, and it was sent from Dasan to Yi Si-heon (1803-1860). In it, Dasan wrote, “It is essential to steam the picked leaves three times and dry them three times, before grinding them very finely. Next that should be thoroughly mixed with water from a rocky spring and pounded like clay into a dense paste that is shaped into small cakes. Only then is it good to drink.”
And it’s from these methods and techniques that Dasan taught others that helped revive tea production in the early 19th century in Korea.
Temple Layout
You first make your way towards Baengnyeonsa Temple up a forested pathway past a stately Iljumun Gate and the temple’s Haetalmun Gate. Eventually, you’ll arrive at the front facade to the main temple courtyard. You’ll need to pass under the imposing Mangyeong-ru Pavilion. The first floor of this structure acts as a tea cafe (but was closed when I visited), while the second story of the pavilion acts as a lecture hall for dharma talks.
Emerging on the other side of the Mangyeong-ru Pavilion, you’ll be greeted by the Daeungbo-jeon Hall. The exterior walls are adorned with some of the more beautiful murals that you’ll see adorning any temple shrine hall in Korea. These murals include those dedicated to Munsu-bosal (The Bodhisattva of Wisdom), Bohyeon-bosal (The Bodhisattva of Power), Agwi (Hungry Ghosts), the Moktak legend, the Shimu-do (Ox-Herding Murals), and the Bodhidharma. Additionally, there are two large-sized dragon heads on either side of the temple shrine hall’s signboard. They are ornate, colourful, and fierce.
To the right of the Daeungbo-jeon Hall is the temple’s Samseong-gak Hall. In front of the shaman shrine hall, you’ll find a seokdeung (stone lantern). Stepping inside the Samseong-gak Hall, you’ll find three highly original shaman murals including the positioning of the mural. Instead of having Chilseong (The Seven Stars) hanging in the centre of the three murals, you’ll find a wonderfully large mural dedicated to Dokseong (The Lonely Saint). To the left of this mural is the mural dedicated to Chilseong (The Seven Stars). Instead of illustrating a couple of constellations, this red Chilseong mural highlights 5 different constellations in one mural. And to the right of the central Dokseong mural, you’ll find an older mural dedicated to Sanshin (The Mountain Spirit). The tiger that joins Sanshin in this mural has large bugged out eyes.
To the left of the Daeungbo-jeon Hall, on the other hand, you’ll find the Myeongbu-jeon Hall. The exterior walls to this hall, once more, are adorned with a wide variety of murals including one dedicated to King Sejo of Joseon (r. 1455-1468) and the Bodhidharma. Stepping inside the Myeongbu-jeon Hall, you’ll find a green haired image of Jijang-bosal (The Bodhisattva of the Afterlife) on the main altar. The statue of Jijang-bosal is surrounded by a fiery mandorla. And to the left and right of Jijang-bosal, you’ll find seated images of the Siwang (The Ten Kings of the Underworld), as well as two statues dedicated to the Geumgang-yeoksa (Vajra Warriors) at the entry to the shrine hall.
Before making your way up to the upper courtyard at Baengnyeonsa Temple, have a look back towards the bay off in the distance. In the upper courtyard, you’ll find the Nahan-jeon Hall and the Cheonbul-jeon Hall. The Nahan-jeon Hall has a beautiful collection of Nahan (The Historical Disciples of the Buddha) statues inside and centred by a main altar image of Seokgamoni-bul. As for the Cheonbul-jeon Hall, the interior is filled with golden images of the Buddha.
To the left of the Mangyeong-ru Pavilion, and standing in the lower courtyard and past the elevated Jong-ru Pavilion, you’ll find a large wooden pavilion with a stele inside it. This is the “Stele for the Construction of Baengnyeonsa Temple,” which is the only Korean Treasure at the temple. This large stele stands 4.47 metres in height. It consists of a traditional tortoise-shaped platform, a body stone, and a capstone. The tortoise-shaped platform was first made during the early Goryeo Dynasty (918-1392), whereas the body and capstone were completed in 1681. The dragon-headed tortoise platform has seven neatly arranged teeth. The long beard on its chin reaches down to its neck. The dragon-head has large, round eyes, and its shell has hexagonal patterns on it with lotus flower designs. Each of the four feet have five toes, and its tail is coiled up and turned to the left. As for the body of the stele, it contains an epitaph on both the back and the front. The inscription on the front details the history of Baengnyeonsa Temple, while the inscription on the back lists the names of the people who helped complete the stele. Finally, and as for the capstone, it has two dragons sitting back-to-back and are beautifully rendered.
How To Get There
The only way to get to Baengnyeonsa Temple from the Gangjin Intercity Bus Terminal is to take a taxi. It’ll take 15 minutes over 10 km, and it’ll cost you 19,000 won (one way).
Overall Rating: 8/10
There’s a lot to love about Baengnyeonsa Temple. And not knowing what to expect, the temple definitely surpassed my expectations. Both the interior and the exterior of the Daeungbo-jeon Hall are wonderful for a number of reasons including the murals, the main altar statues, and the dancheong inside the main hall. In addition to the Daeungbo-jeon Hall, the artwork inside the neighbouring Samseong-gak Hall are spectacular for various reasons. The views, the mature trees, the bay off in the distance, the connection to tea in Korea, and the artwork throughout the temple grounds makes Baengnyeonsa Temple a must!
At the entry to the temple grounds.
The Mangyeong-ru Pavilion.
A look towards the Jong-ru Pavilion from the Mangyeong-ru Pavilion.
The beautiful Daeungbo-jeon Hall.
The amazing dancheong and dragons that adorn the Daeungbo-jeon Hall.
A panel of three paintings from the Shimu-do (The Ox-Herding Murals) that adorns the exterior of the Daeungbo-jeon Hall.
The main altar inside the Daeungbo-jeon Hall.
With an older dragon, instead of a datjib (canopy), hanging over the main altar triad.
The view from between the Mangyeong-ru Pavilion and the nuns’ dorms towards the bay below Baengnyeonsa Temple.
The Samseong-gak Hall at the temple.
The red Chilseong (Seven Stars) mural inside the shaman shrine hall.
Joined by this large mural dedicated to Dokseong (The Lonely Saint).
And this older mural dedicated to Sanshin (The Mountain Spirit).
A look inside the Myeongbu-jeon Hall.
The upper courtyard at Baengnyeonsa Temple.
A look inside the Nahan-jeon Hall.
And the rows of golden Buddhas inside the Cheonbul-jeon Hall.
The “Stele for the Construction of Baengnyeonsa Temple.”
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