~기 짝이 없다 is an advanced form that's used in a similar way as ~기 그지없다 and ~기 이를데(가) 없다. In my most recent live class I taught all three of these forms and their differences. The full live stream was around two hours, but you can watch just the lesson portion summarized into 7 minutes.
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Are you wondering how to pronounce the Korean alphabet? This article provides a comprehensive guide to Korean vowels and consonants and their … How to Pronounce Korean Alphabet – Mastering Hangeul Sounds CONTINUE READING The post How to Pronounce Korean Alphabet – Mastering Hangeul Sounds appeared first on 90 Day Korean.
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Seochukam Hermitage is located on the Tongdosa Temple grounds in Yangsan, Gyeongsangnam-do in the southern foothills of Mt. Yeongchuksan (1,082.2 m). Seochukam Hermitage is one of nearly twenty hermitages on the Tongdosa Temple grounds; in fact, it’s just 150 metres away from neighbouring Jajangam Hermitage. The hermitage was first founded by the monk Wolha in 1996. In total, there are only a handful of buildings on the hermitage grounds.
You first make your way up to the hermitage up a long, forested roadway, until you eventually come to the hermitage parking lot south of the walled-off grounds. To the right of the hermitage parking lot, you’ll find a plainly adorned entry gate. On either side of the entrance to the hermitage grounds are two storage areas. Passing through the beautiful gate, you’ll enter into the lush hermitage courtyard. Seochukam Hermitage has the feel of a Japanese temple instead of a Korean one. What makes me say this is that all of the buildings are purposely unadorned. The exterior walls to both the entry gate and the Daeung-jeon Hall are adorned in their natural wood finish and white along the walls.
Having entered the main hermitage courtyard, you’ll notice the administrative office to your left and the Yosachae (monks’ dorms) to your right. Between the entry gate and the Yosachae is a modern half-sized replica of Dabo-tap Pagoda from the famed Bulguksa Temple. This pagoda used to stand in front of the main hall, but it has been moved in more recent years to its present location. And out in front of this pagoda is a water fountain. Water pours forth from a stone turtle’s mouth, collects in pools of water with baby turtle statues and high-relief images of lotus flowers on it, and flows out into a lotus basin.
Straight ahead, on the other hand, and between the administrative office and the Yosachae, is the only shrine hall at Seochukam Hermitage. This is the Daeung-jeon Hall. Again, the exterior walls to the main hall are adorned in their natural wood finish and white walls. On either side of the entry to the Daeung-jeon Hall are two storage areas.
There is a wooden corridor out in front of the central entrance to the Daeung-jeon Hall. Stepping inside the main hall, your eyes will instantly be drawn to all the colour inside the Daeung-jeon Hall. Every inch of the interior is filled with stunning murals that include the Palsang-do (The Eight Scenes from the Buddha’s Life Murals), the Four Heavenly Kings, shaman deities, an all-white Gwanseeum-bosal (The Bodhisattva of Compassion), and a mural dedicated to the scene from the “Vision of the Bejeweled Stupa” from the Lotus Sutra. All of these paintings are masterful in their execution. As for the main altar, it houses a triad of statues set back in an enclosed area. The triad consists of a central image dedicated to Seokgamoni-bul (The Historical Buddha), who is joined on either side by Jijang-bosal (The Bodhisattva of the Afterlife) and Gwanseeum-bosal. The triad rests under a beautiful canopy with a manja image at its centre. On either side of the main altar are a collection of four panel paintings. These paintings consist of images dedicated to Jijang-bosal, Gwanseeum-bosal, Bohyeon-bosal (The Bodhisattva of Power), and Munsu-bosal (The Bodhisattva of Wisdom). The interior to the compact main hall is stunningly filled with beautiful Buddhist artwork that’s second-to-none.
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 a couple of kilometres. There is a cluster of hermitages in this area. Find the sign that reads Seochukam Hermitage – 서축암 and continue heading in this direction until you arrive at the hermitage.
Seochukam Hermitage is both beautiful and tranquil in its simplicity and size. The hermitage buildings are equally beautiful in their simplicity, as well. However, stepping inside the Daeung-jeon Hall, this simplicity is disrupted by the overwhelming beauty that’s artistically present inside the main hall from the main altar statues to the numerous Buddhist themed murals. Seochukam Hermitage is beautiful in its contrasting elements found in both its architecture and its artwork.
In the second episode of my free "Korean Conversation Course" you'll hear a natural conversation about asking for directions, as well as one of the most common things you might hear if you're a Korean learner - "Your Korean is so good!" There are 20 episodes in this course, so we're at 2/20 so far. Every week I'll post a new episode in this course.
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It’s rather interesting that you see so many fish at Korean Buddhist temples, especially since there is no direct connection between fish and Buddhism. Additionally, fish were never objects of worship in Buddhism, as well.
An argument has been made that the reason that fish exist at temples, whether it’s as a painting, a wind chime, or carp swimming around a temple pond, is that they are meant to remind practitioners to remain vigilant and focused on their practice. The reason for this belief is that it’s thought that fish never sleep. While this is one interpretation, there are several other interpretations concerning the fish you might see at Korean Buddhist temples.
The word “moktak,” which is referred to as “mouduo” in Chinese, is mentioned in the “Analects of Confucius” as a metaphor for Confucius himself. Originally, the “mouduo” referred to bells that were attached to the staff carried by monks. The term “mouduo” was used specifically for bells with wooden clappers, while bells with bronze clappers were referred to as “jinduo,” or metal bells.
It’s important to note that the “mouduo” and the “moktak” are different. While the “mouduo” contains clappers, the “moktak” only makes sounds when struck with an exterior wooden stick.
The Korean “moktak” originates from the “mokeo,” which is known as a “muyu” in Chinese. The “mokeo” is the third of four traditional percussion instruments housed inside the Jong-ru (Bell Pavilion) at a Korean Buddhist temple. The “mokeo” is a hollowed out log carved into the shape of a fish. In English, the “mokeo” is known as a “wooden fish drum.”
The design of the “mokeo” is meant to resemble a carp. There are a few reasons for this design. One is that a fish never closes its eyes. And much like the wind chime that adorns temple shrine halls, the sound of the drum is meant to remind practitioners to never relax in their self-cultivating practices. And the second reason that the “mokeo” is shaped like a carp is that a fish swims through water unimpeded. Furthermore, in the past, large bodies of water were seen as obstacles that kept people apart. So people used the ocean as a symbol for going to the Western Paradise because the water was hard to traverse. So instead of the sky, people looked to water.
As for the “moktak,” there are two types of fish-shaped wooden sounding instruments called “muyu” that are found in China. The first is similar to one of the four traditional Buddhist percussion instruments, while the second type is similar to the Korean “moktak.” Korean Buddhism adopted the latter and modified it into a “moktak.”
Traditionally, Chinese people didn’t sit on the floor, and their “muyu” was typically placed on a cushion and remained stationary. This design required no handle because there was no need to lift it during its use. However, following the Japanese invasion of Korea during the Imjin War (1592-98) in 1592, and the Qing invasion of Joseon in 1636, new architectural styles were produced in Korea, including the adoption of floor sitting.
Because of this new style of sitting, it necessitated the need for practitioners to repeatedly stand up and sit down, while also holding the wooden gong during Buddhist ceremonies. As a result, the fin portion of the fish-shaped percussion instrument was drilled to incorporate a strong handle for securing a grip to hold onto the instrument. It was at this time that the name of the wooden percussion instrument changed from that of a “mokeo” to that of a “moktak.” Thus, the wooden instrument changed from an outdoor instrument, to an indoor instrument in the form of the Chinese “muyu,” and then evolved into a “moktak” for greater convenience during Buddhist ceremonies. And what’s even more interesting about the “moktak” is that it’s exclusively used in Korea.
The “moktak” is accompanied by a fascinating legend that can be seen as a mural on the walls of some temple shrine halls.
According to this tale, a novice monk was being lazy and ignored his teacher’s guidance; as a result, this novice monk was reborn as a giant fish. A seed fell on the fish’s back and grew into a large tree, causing the novice monk fish great pain. The fish appeared in the dream of its former teacher, pleading for a ritual to secure a more auspicious birth and freedom from the pain it was currently suffering through.
Touched by compassion for his student, the master monk performed the ritual as requested. As a result, the fish died and its body was washed ashore. The teacher removed the tree growing from the fish’s back and made a “moktak” to serve as a lesson to his students.
This tale was probably first made to help educate young monks about the importance of diligence and listening to one’s teachers.
Dragons are an integral part of Chinese culture. What distinguishes Chinese dragons is their origin.
The image of the Chinese fish was first portrayed as a flying creature in Neolithic earthenware, which was discovered in areas connecting the Yellow River Valley Civilization. This unique depiction of flying fish eventually merged with the concept of the dragon, giving rise to the idea that fish could change into dragons.
This belief is especially true with fish that have barbels. According to a Chinese tradition, a carp that could swim upstream and then leap into the falls of the Yellow River at Longmen (Dragon Gate) would be transformed into a dragon. Longmen, or “Dragon Gate” in English, is located at the border of Shanxi and Shaanxi, where the Yellow River flows through a section of the Longmen mountains, which was made by Yu the Great, who cut through the mountains.
According to one version of this Chinese tale, forceful water brought several carp down the river, and the carp couldn’t swim back. The carp complained to Yu the Great. As a result, his wife, who was the Jade Emperor’s daughter, explained all of this to her father on behalf of the trapped carp. The Jade Emperor promised that if the carp could leap over the Dragon Gate, then they would become mighty dragons. So every year, all of the carp competed to see which one could leap over the Longmen Falls. And those that succeeded were immediately transformed into dragons and flew off into the sky.
As a result of the gorge being named Longmen, which literally means “dragon gate” in English, this gave rise to the phrase “entering the dragon gate,” which refers to a person making a difficult journey that one must overcome to achieve success.
In Buddhism, and over time, the fish has evolved symbolically. It has changed from a fish that could fly into a fish that turned into a dragon. Also, the evolution of the fish gong from a “mokeo,” into a Chinese “muyu,” and finally into a “moktak,” has seen the slow evolution of the imagery of the fish change through necessity, as well. The reason for this change, and through Chinese Buddhism, the fish is considered sacred. Not only does it remain sacred because of the belief that it never sleeps, but it also remains sacred and relevant because of the higher symbolic aspirations of achieving full awakening through spiritual growth.
I wanted to make a summarized video about the ~데 form, because the ~데 form is the most misused sentence connector that I see learners using. I also misused this a ton when I was a beginner because I didn't understand when it was used. It's only after years of studying and practice that I realized how the ~데 form is used to make comparisons, and how it has a different nuance than saying just "and" or "but."
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Bulgulsa Temple, which means “Buddha Cave Temple” in English, is located to the north of Mt. Muhaksan (588.4 m) in northern Gyeongsan, Gyeongsangbuk-do. Purportedly, Bulgulsa Temple was first constructed in 690 A.D. by the famed monk Wonhyo-daesa (617-686 A.D.). But this would be rather difficult, since Wonhyo-daesa died in 686 A.D. After its initial founding, very little is known about the temple’s history. However, it’s believed that at the height of its popularity, there were 50 buildings housed at the temple, as well as 12 hermitages directly associated with Bulgulsa Temple up until the mid-Joseon Dynasty (1392-1910).
In 1723, Bulgulsa Temple was reconstructed; however, it was largely damaged by a landslide caused by flooding in 1736. Eventually an older monk from Songgwangsa Temple in Suncheon, Jeollanam-do rebuilt the temple. And from 1860 to 1939, other parts of the temple were reconstructed, as well.
In 1988, the original site of the Daeung-jeon Hall was located and a sari from India of Seokgamoni-bul (The Historical Buddha) was enshrined at Bulgulsa Temple. This enclosure at Bulgulsa Temple is known as a Jeokmyeol-bogung, which means “Silent Nirvana Treasure Palace” in English.
In total, Bulgulsa Temple is home to one Korean Treasure, it’s the “Three-Story Stone Pagoda of Bulgulsa Temple,” which is Korean Treasure #429.
As you first approach the elevated temple grounds from the temple parking lot, you’ll notice a simple Jong-ru Pavilion slightly protruding above the stone barrier wall. Up a set of uneven stairs, you’ll enter into the main temple courtyard. To your left is the simplistic Jong-ru Pavilion with a large bronze bell inside it. To your right, on the other hand, are the monks’ dorms and administrative office.
Straight ahead lays the main hall at Bulgulsa Temple. Out in front of the main hall is the “Three-Story Stone Pagoda of Bulgulsa Temple,” which is the only Korean Treasure at the temple. The pagoda is a three-story structure, which dates back to 690 A.D. The pagoda consists of a two-layered stylobate. The pagoda has a long and large stone foundation. The middle stone of the top layer of the stylobate is engraved with pillar patterns at its corners and at the centre of each side, as well. As for the body of the pagoda, both the core and roof stones are made from a single piece of stone. All of the corners of the core stones are engraved with pillar patterns, and the roof stones taper upwards at each end. In fact, these corners rise quite sharply. As for the finial, all that remains is the base which resembles an over-turned bowl. In total, the pagoda stands 7.43 metres in height; and overall, it’s quite well preserved.
Beyond this historic pagoda stands the main hall at Bulgulsa Temple. The main hall at Bulgulsa Temple is known a Jeokmyeol-bogung. The exterior walls to this hall are adorned with a nice collection of the Shimu-do (Ox-Herding Murals). Stepping inside the Jeokmyeol-bogung, you won’t find a triad resting on the main altar; instead, what you’ll find is a window (reminiscent of the Daeung-jeon Hall at Tongdosa Temple) that looks out on a stone enclosure with an intricate stupa at its centre. Housed inside this stone stupa are the sari from India of Seokgamoni-bul (The Historical Buddha). As for the rest of the interior of the main hall, you’ll find a Shinjung Taenghwa (Guardian Mural) on the far right wall, as well as seated statues of the Buddha with white paper hats on their heads.
To the right of the main hall is a diminutive Dokseong/Sanshin-gak Hall. Housed inside this hall are two rather plain shaman deity paintings of Dokseong (The Lonely Saint) and Sanshin (The Mountain Spirit). Also in this area is the Jijang-jeon Hall. This shrine hall is rather long and narrow, and it houses a solitary statue dedicated to Jijang-bosal (The Bodhisattva of the Afterlife). This main altar statue is joined by an assortment of paintings lining the interior walls of the shrine hall including paintings dedicated to Munsu-bosal (The Bodhisattva of Wisdom), Bohyeo-bosal (The Bodhisattva of Power), and Gwanseeum-bosal (The Bodhisattva of Compassion).
To the left of the main hall is a shrine hall that houses the ancient stone statue of the Buddha. Officially known as the “Standing Stone Buddha Statue of Bulgulsa Temple,” the stone statue is Gyeongsangbuk-do Property Material #401. In total, the statue stands 2.33 metres in height, but the date of its creation is unknown. The statue is placed on a natural ridge of rock. As for the statue itself, it has a chubby face, and it holds a jar in its left hand. However, it’s unknown if the jar was originally there because the left hand was so damaged that it was repaired. Also, the face underwent some repair, as well.
And to the left of this shrine hall is the Gwaneum-jeon Hall. Out in front of this newly built temple shrine hall is a beautiful pond lined with flowers. Stepping inside the Gwaneum-jeon Hall, you’ll find a large statue dedicated to Gwanseeum-bosal on the main altar. This image is lined by a fiery mandorla and backed by a beautiful, black mural also dedicated to the Bodhisattva of Compassion. And adorning the interior of the Gwaneum-jeon Hall are smaller statues of the Bodhisattva of Compassion housed inside their own tiny little enclosures.
Also of interest to some, and perched to the southwest of Bulgulsa Temple, is Hongjuam Hermitage. Unfortunately, I didn’t have the time to visit, but I’ll save that for a future visit. If you do have the time, however, I highly recommend a visit to the cliffside hermitage filled with images of Seokgamoni-bul, Dokseong, and Yaksayeorae-bul (The Medicine Buddha, and the Buddha of the Eastern Paradise). It’s a bit of a climb to the hermitage, so be prepared.
Because of its rather remote location, the only way to get to Bulgulsa Temple from the neighbouring city of Gyeongsan is by taxi. And to get to Bulgulsa Temple from the Gyeongsan Intercity Bus Terminal, it’ll take 45 minutes, over 26 km, and it’ll cost you around 38,000 won (one way).
There are quite a few highlights for visitors to enjoy at Bulgulsa Temple starting with the “Three-Story Stone Pagoda of Bulgulsa Temple” and continuing on towards the Jeokmyeol-bogung and the stone stupa that purportedly houses sari (crystalized remains) of the Buddha, Seokgamoni-bul. Additionally, the “Standing Stone Buddha Statue of Bulgulsa Temple” is quite impressive, as is the newly built Gwaneum-jeon Hall and the pond out in front of it. And if you have the time and energy, a hike up to Hongjuam Hermitage is well worth it, as well.
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Each week I'll be posting one new lesson, for the next 19 weeks until the course is finished. There's also a book version of this course with 5 extra conversations, but this video course is free and does not require anything else to use it.
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While perhaps not as common as tigers or dragons in Korean Buddhist artwork, the image of elephants is still quite prevalent. Whether it’s on stupas, paintings, or sculptures, the elephant can be seen at Korean temples if you look close enough.
According to a Buddhist legend, one night during a full moon, and while sleeping at the palace of her husband Śuddhodana, the queen, Queen Maya had a vivid dream. In this dream, she felt carried away by the Four Heavenly Kings to Lake Anotatta in the Himalayas. After being bathed in the lake by the Four Heavenly Kings, the four kings clothed the queen in heavenly clothes, anointed her with perfumes, and provided her with divine flowers. Soon after a white elephant, holding a white lotus flower in its trunk, appeared and went around her three times. Eventually, this elephant entered her womb through her right side. The white elephant disappeared and the queen awoke. Having awoken from her sleep, Queen Maya knew that she had been presented with an important message. And it’s from this origin in Buddhism that elephants come to symbolize greatness.
Another example of the elephant in early Buddhism can be found in the disciple Sariputta, when he likens the guiding spirit of Buddhism to the footprint of an elephant. From the “Maha-hatthipadopama Sutra: The Great Elephant Footprint Simile,” it reads, “Ven. Sariputta said: ‘Friends, just as the footprints of all legged animals are encompassed by the footprint of the elephant, and the elephant’s footprint is reckoned the foremost among them in terms of size; in the same way, all skillful qualities are gathered under the four noble truths.’”
Additionally, in the early stages of Indian Buddhist sculptural art, the Buddha is symbolized as a Bodhi tree, the Wheel of the Dharma, and as an elephant. Thus, the elephant serves as a symbol of Buddhism. This is most notably seen at the Sanchi Stupa in India. It was originally commissioned by the Mauryan emperor Ashoka the Great in the 3rd century B.C. There are numerous examples throughout the stupa, but perhaps the most noticeable elements are on the Eastern Gateway pillars. In all, the elephant carvings at the Sanchi Stupa are royal mounts, symbols of Buddhism, simple ascents, and mythological creatures. But already, and quite early on, elephants played a central role in the imagery of Buddhism.
Like so much of Buddhism, the symbolism found in the imagery of the elephant would move eastward, first through China and then onto the Korean Peninsula and Japan. In Korean Buddhism, the elephant is mean to symbolize strength, patience, loyalty, and wisdom.
In Korea, and like the white tiger, elephants were meant to symbolize rulers. However, elephants were and are considered to be more beloved because they can be tamed. Additionally, while elephants embody the idea of wisdom put into action, lions often represent decisive judgment and action based on wisdom.
Outside the tiger and the lion, elephants also appear alongside the dragon in Korean Buddhism. One of the most likely reasons for this is that the elephant is easier to draw or sculpt than that of the lion. Otherwise, it’s not easy to understand why elephants are often paired with dragons to form familiar Buddhist groupings, especially when lions may appear to be a more suitable option. This is particularly true given the widespread use of the phrase “dragons and tigers,” referring to two equally powerful opponents or entities.
There are numerous wonderful examples of elephants appearing in the artwork of Korean Buddhism. Here are but a few of these examples:
Perhaps one of the most notable images is that from the Palsang-do (The Eight Scenes from the Buddhas Life Murals) that typically adorns the main hall of a temple. The first from this set is entitled “The Announcement of the Imminent Birth.” In this painting, Queen Maya becomes pregnant after she has a dream of a white elephant. The white elephant is offering her a white lotus from its trunk. After this, the white elephant then circles Queen Maya three times and then enters her womb with its tusk. Upon waking, Queen Maya realizes that she has experienced something spiritual. A Brahmin was consulted to interpret the significance of this white elephant dream. The Brahmin said, “A great son will be born. If he renounces the world and embraces a religious life, he will attain perfect enlightenment and become the saviour of this world.” A wonderful example of this painting can be found inside the Daegwangjeon Hall of Sinheungsa Temple in Yangsan, Gyeongsangnam-do. In total, there are four of the eight paintings from the Palsang-do from the mid-17th century inside the main hall at Sinheungsa Temple. They are the first, fourth, fifth, and eighth, and they are stunning.
Another painted image, or even statue, is that of Bohyeon-bosal (The Bodhisattva of Power). Like the Hindu god Brahma, Bohyeon-bosal appears atop a six-tusked white elephant. If Bohyeon-bosal appears as a statue, he’ll be mounted on a six-tusked white elephant inside a Geumgangmun Gate. This is typically the second of five potential entry gates at a temple. In this gate, Bohyeon-bosal appears as a child-like figure. A wonderful example of this can be found at Ssanggyesa Temple in Hadong, Gyeongsangnam-do. As for the painting of Bohyeon-bosal, he can appear in a number of incarnations, so he can be quite difficult to discern. However, the easiest way to distinguish Bohyeon-bosal from other Buddhas and Bodhisattvas is that he’s typically mounted on a white elephant. Perhaps the most stunning example of this can be found inside the Daeung-jeon Hall at Jangyuksa Temple in Yeongdeok, Gyeongsangbuk-do. This image dates back to around the mid-18th century, and it is part of a collection of 18 historic murals inside the main hall.
As for sculptures of elephants, you can find them in various mediums like wood or stone. And they can be highly stylized in form. A good example of this can be found inside the Bulimun Gate at Tongdosa Temple in Yangsan, Gyeongsangnam-do. If you look up at the rafters of the interior of the structure, you’ll find a white elephant facing out towards an orange tiger. Not only are they great images, but they encompass the very concept of the Bulimun Gate, which is known as the “Non-Duality Gate” in English. Basically what this means is that there is no idea of hard vs. soft, or love vs. hate; instead, all things are one. And these oppositional forces are wiped away once passing through the Bulimun Gate. And in the same context, the white elephant, which symbolizes Buddhism, and the orange tiger, which symbolize Korean shamanism, are no longer two entities; instead, they are one and the same.
And yet another sculpted example can be found at the base of a modern stupa at Jukrimsa Temple in Yeongcheon, Gyeongsangbuk-do. Housed inside this stupa are the remains of a monk. With the elephants at the base of this stone structure, it’s meant to symbolize the idea of wisdom. And through the preservation of these stone monuments, and the way in which Seon Buddhism acts is through the transmission of a teacher’s wisdom/teachings to that of his/her students.
As for the monastic sangha (community) in Korea, the very idea of the elephant seeps into the very language. One example of this can be found in an idiom in Korea. During the “angeo,” which is a three-month long intensive retreat for Korean Buddhist monastics, the temple assigns roles and task to all those that participate. This information is then compiled into a chart and displayed as a public notice on a plaque known as the “dragon-like elephant list.”
This “dragon-like elephant” imagery is meant to motivate monastics to practice with the same fearlessness and endurance as this mythical creature. As a result, it’s a fitting name for those devoted to the three months of intense seclusion and meditation.
While not as common to see as other animals, whether real or imagined, like the tiger, lion or dragon, the elephant plays an important part in the symbolic imagery found within Korean Buddhist art. The ideas of strength, patience, loyalty, and wisdom are bound by the symbolic imagery of the elephant. And these images can be found in the forms of stupas, statues, paintings, and various other imagery. So while you might need to look a little closer for these elephants, they are definitely out there to be enjoyed.
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