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This doesn't mean what you think it means (~수가 있어야죠) | Korean FAQ

An idiom you should be aware of if you're at least Intermediate level or above is ~수가 있어야죠.

This idiom is used as-is, and there are some specifics you should know to use it which I explain in today's video.

The post This doesn't mean what you think it means (~수가 있어야죠) | Korean FAQ appeared first on Learn Korean with GO! Billy Korean.

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Korean Poems – Learning the language through literature

Just like all of the world’s languages and cultures, Koreans also enjoy poetry and Korean poems.

A guy wearing glasses flipping pages of a book

As poems are an old and interesting part of Korean culture and artistry, just like elsewhere, you will want to educate yourself on the matter. Besides, Korean poems can also be fun to read, as well as useful for Korean language practice!

Now, are we ready to learn some more about poems?

What is “poem” in Korean?

The word for “poem” in Korean is as simple as 시 (si). The adjective for describing something as poetic is 시적인 (sijjeogin). The word for a person who writes poems is 시인 (siin).

If you were focused during your school’s literature classes, you may already know there’s a slight difference between poetry and poems. But if not, then don’t worry, as we’ll also go over what this means, although the article’s focus will be specifically on poems.

“Poetry” in Korean

Now, the word for “poetry” in Korean is also 시 (si). Thankfully, there are two other common words for it as well, and we’ll focus on those in this lesson to make it less confusing for you.

The second word for “poetry” in Korean is 시가 (siga). This also means “poetry” and “verse.”

운문 (unmun) also means “poem,” “poetry,” and “verse.” And 시학 (sihak) means “study of poetry.”

And “a collection of poems” is called 시집(sijip).

Korean poetry

Korean poetry refers to poetry that has been written or performed in the Korean language. It is quite common for traditional Korean poetry to be sung during a performance. Originally, the majority of Korean poetry was written in hanja. From the 20th century onward, it has become increasingly common to write poetry in Hangeul.

Classical Chinese has also held a lot of influence over Korean poems. This is understandable, as hanja are simply what Chinese characters are called in Korean, and the two countries have had linked cultures since ancient Korea times. While Korean poems are distinctive from classical Chinese ones, they share many similarities in their form and style.

Korean poetry dates back to the time of the Three Kingdoms. Since those days, it has been an integral and irreplaceable part of Korean literature and art. It is one way that depicts the beliefs, traditions, and values that uphold Korean society and culture.

Different types of Korean poem

Korean poems and poetry can be divided into two categories: traditional and modern. First, let’s go over traditional Korean poetry.

Traditional Korean Poems

Traditional Korean poems and poetry can be divided further into three different forms: sijo, gasa, and hyangga. They each have distinctive features, but all provide an excellent reflection of old Korean society.

The first form of a traditional poem is 시조 (sijo). This type of form comes with a strictly three-line structure, with a syllable count between 44 and 46. These poems usually pack in quite a lot of emotion, covering anything between joy and regret.

The second type of traditional Korean poem is called 가사 (gasa). These poems are longer, and they often tell a story of some kind. These stories then draw and mix elements from history, mythology, and folklore.

Finally, the third form of a traditional poem is 향가 (hyangga). This is the oldest form of Korean poetry. The themes are typically religious or philosophical, and local dialects and expressions are commonly used. Its structure is composed of repetition, as well as a specific 7-9-9-7 syllable formation. The intention behind this is to make the poem both memorable and expressive.

Modern Korean Poems

Modern Korean poetry, on the other hand, is not divided further into subcategories. They are highly regarded for their creativity and expressiveness. Modern Korean poetry came out to be just as the Korean society was undergoing a lot of changes, including industrialization, westernization, and political transformations.

During this era, poets began to experiment with different styles, forms, and themes, ones that were not yet commonly seen in Korean poems. For example, social and political issues became a big part of Korean poetry through these modern poems. In other words, modern poems are often far more critical than what traditional poems have sought to be.

Additionally, nature and beauty have also been big themes in modern Korean poems. Korea’s incredible landscape does provide plenty of inspiration for poems, after all. Nature has often also gone hand in hand with spirituality in the poems.

Finally, the poet’s personal experiences and emotions are not an uncommon theme seen in modern-era poetry.

List of Notable Korean Poets

Below, you can find a list of notable Korean poets and a short explanation of the time they lived in and the type of poems they wrote or currently write.

최영미 (Choe Yeongmi)

A female poet representing modern poetry, having been born in 1961, Choe is not one to shy away from topics that may cause controversy. For example, she was noted as the starter of the MeToo movement in Korea when she wrote a highly personal and heartbreaking poem related to the matter.

김소월 (Kim Sowol)

Although he only ever published one poetry collection in the duration of his short life, back in 1925, his poems are considered notable. His style of poetry has been described as similar to old Korean folk songs.

서정주 (Seo Jeong-ju)

Having lived between 1915-2000, Seo Jeong-ju is seen as the founder of modern Korean poetry. Not only that but it is thought among most people that he is one of the best Korean poets of the 20th century and was also nominated for the Nobel Prize in Literature an astounding 5 times.

허난설헌 (Heo Nanseolheon)

Heo Nanseolheon is an accomplished female poet and painter who lived during the Joseon dynasty. Sadly, many of her poems were burned upon her death by her request. However, more than 200 poems survived, enough for a collection of her poems to be released in the early 1900s. Her poems typically followed Chinese styles for poems.

조지훈 (Jo Jihun)

This poet was born in 1920 when Korea was still heavily under Japanese rule. His poems are considered to contain elements of classical beauty and tranquility. He himself thought that freedom of the individual is what poetry is born out of.

최정례 (Choe Jeongrye)

Choe Jeongrye was a modern female poet who has won numerous awards and prizes, as well as been featured in multiple magazines in South Korea, Japan, and the United States. Many of her poems were related to memory and time, with her writing style simple and straightforward.

이색 (Yi Saek)

Having lived in the 1300s, during the time of Goryo, he was one of the country’s most important figures of culture in his time. He even opened up the academy that educated those who were to become the founders of the Joseon Dynasty.

균여 (Kyunyeo)

Living in Goyro in the 900s, Kyunyeo was a Buddhist monk who also wrote many poems in his time. He is the poet of Songs of the Ten Vows Samantabhara, which has been dubbed as the first collection of poetry that was written in the Korean language.

김승희 (Kim Seung-hee)

Another female poet in current-day Korea, she has produced many highly regarded poems, especially in her later career.

Examples of Korean poems

Below, you can find a list of poems expressing some examples of what kind of poems you can find in Korean poetry, along with their English translations.

서른, 잔치는 끝났다 (seoreun, janchineun kkeunnatda) – 최영미 (Choe Yeongmi)

Translation: At Thirty, the Party is Over

진달래꽃 (jindallaekkot) – 김소월 (Kim Sowol)

Translation: Azaleas

국화옆에서 (국화옆에서) – 서정주 (Seo Jeong-ju)

Translation: Beside the Chrysanthemum

승무 (seungmu) – 조지훈 (Jo Jihun)

Translation: The Nun’s Dance

잠의 들판으로 (jamui deulpaneuro) – 최정례 (Choe Jeongrye)

Translation: Towards the Field of Sleep

그림속의 물 (geurimsogui mul) – 김승희 (Kim Seung-hee)

Translation: The Water in the Painting

How can poems help in learning Korean?

There are a few things to consider about how helpful poems are for Korean studies. For one, Korean poems are an excellent insight into Korean culture and the authors’ minds, even when not learning new words or grammar structures. Even so, Korean poems also teach vocabulary and language structures.

Reading poems can inspire Korean learners to get more creative with the language. Writing poems themselves is a great way to learn to be expressive with the vocabulary and grammar that the student knows by now. Thanks to the short length of poems, they are also good as reading exercises.

Finally, because poems are such a versatile subject, they are bound to be an interesting learning method for many.

Related vocabulary and sample sentences

Below, you can find a list of vocabulary that is related to poems and poetry.

EnglishKorean
Song가곡 (gagok)
Folk song민요 (minyo)
Verse운문 (unmun)
Free verse자유시 (jayusi)
Chorus후렴 (huryeom)
Haiku하이쿠 (haiku)
Rhyme운 (un)
Rhythm운율 (unyul)
Prose산문 (sanmun)
Rhetoric미사여구 (misayeogu)
Expression표현 (pyohyeon)
Alliteration두운 (duun)
Assonance음의 유사 (eumui yusa)
Epigraph비문 (bimun)
Blank verse무운시 (muunsi)
Rhyme scheme압운 형식 (abun hyeongsik)
Theme주제 (juje)
Sonnet소네트 (soneteu)
Serenade세레나데 (serenade)
Stanza스탠자 (seutaenja)

Below, you can find some sample sentences that may make memorizing some of this vocabulary easier.

언제부터 를 써왔나요? (eonjebuteo sireul sseowannayo?)

Since when have you been writing poetry?

가장 좋아하는 시인은 누구예요? (gajang joahaneun siineun nuguyeyo?)

Who is your favorite poet?

한나 씨의 시집에 시 몇 편 있어요? (hanna ssiui sijibe si myeot pyeon isseoyo?)

Hanna, how many poems are in your collection of poetry?

그 작품은 운문으로 쓰여졌어요. (geu jakpumeun unmuneuro sseuyeojyeosseoyo.)

The work was written in verse.

시의 주제는 유년시절의 집이야. (nae siui jujeneun jeoui yunyeonsijeol jibiya.)

The theme of my poem is my childhood home.

Wrap Up

Do you like poems? Have you ever written or read them? Did you find learning about Korean poems interesting to you? Is the poem written by your favorite Korean poet part of the list? Let us know more below in the comments! Next, you may want to learn about Korean folktales!

The post Korean Poems – Learning the language through literature appeared first on 90 Day Korean.

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Gamsansa Temple – 감산사 (Gyeongju)

The Sanshin-gak Hall at Gamsansa Temple in Gyeongju.

Temple History

Gamsansa Temple, which means “Sweet Mountain Temple” in English, is located about two kilometres to the south of the famed Bulguksa Temple on Mt. Tohamsan (745.7 m) in eastern Gyeongju. According to the inscriptions found on the “Stone Standing Maitreya Bodhisattva of Gamsansa Temple” and the “Stone Standing Amitabha Buddha of Gamsansa Temple,” both of which are National Treasures, Gamsansa Temple was first built on “‘Nirvana Day’ (February 15th) in the eighteenth year of King Seongdeok of Silla (r. 702-737 A.D.).” Based on this information, Gamsansa Temple was first established in 719 A.D.

As to who first commissioned the construction of Gamsansa Temple, it was Kim Jiseong (651-720 A.D.). Kim Jiseong was a high-ranking Silla official. Officially, Kim Jiseong was a “Jungachan,” which was the sixth-highest rank of the seventeen ranks of the Silla Kingdom (57 B.C. -935 A.D.). In 705 A.D., Kim traveled to the Tang Dynasty (618–690, 705–907 A.D.) as part of a Silla mission. The inscriptions of the two previously mentioned National Treasures, which were also commissioned in 719 A.D., Kim held the rank of “Sangsa,” which was probably a title he received from the Tang Dynasty court. Upon his return to the Korean Peninsula, Kim resigned from government service in 718 A.D. at the age of sixty-seven. In retirement, Kim found peace and solitude, which allowed him to purse an in-depth study of the Buddha’s teachings. In particular, Kim studied the Yogacarabhumi-sastra (Treatise on the Foundation for Yoga Practitioners) by Asanga (fl. 4th century A.D.). By 719, Kim Jiseong donated his fortune and his land to build Gamsansa Temple. By building Gamsansa Temple, Kim hoped that that his devotion would move the Buddha to bring peace to his deceased parents (Il Gilgan and Gwan Chori), as well as protect the Silla king and his royal family. But in 720 A.D., and at the age of sixty-nine, Kim would die.

From the time of its construction, and up until 1915, very little is known about the history of Gamsansa Temple. In 1915, during Japanese Colonial Rule, the “Stone Standing Maitreya Bodhisattva of Gamsansa Temple” and the “Stone Standing Amitabha Buddha of Gamsansa Temple” were discovered on the temple site. These two statues are now housed at the National Museum of Korea because for the longest time there simply wasn’t a temple at the Gamsansa Temple site. It is only over the past couple of decades that Gamsansa Temple was rebuilt.

In total, Gamsansa Temple was home to two National Treasures. They were the the “Stone Standing Maitreya Bodhisattva of Gamsansa Temple” and the “Stone Standing Amitabha Buddha of Gamsansa Temple.” The “Stone Standing Maitreya Bodhisattva of Gamsansa Temple” is National Treasure #81, while the “Stone Standing Amitabha Buddha of Gamsansa Temple” is National Treasure #82. As was previously mentioned, these two statues are now housed in Seoul at the National Museum of Korea. In addition to these two National Treasures, Gamsansa Temple is currently the home to a Tangible Cultural Heritage, which is the “Seated Stone Vairocana Statue at Gamsansa Temple,” as well as the “Three Storied Stone Pagoda of Gamsansa Site,” which is a Cultural Properties Materials.

The “Stone Standing Amitabha Buddha of Gamsansa Temple” in Seoul at the Choson Industrial Exhibition in 1915. (Picture courtesy of the National Museum of Korea).
And the “Stone Standing Maitreya Bodhisattva of Gamsansa Temple” in Seoul at the Choson Industrial Exhibition in 1915. (Picture courtesy of the National Museum of Korea).

Temple Layout

You first approach the modern Gamsansa Temple from the northern temple parking lot. Heading south, you’ll find the Boje-ru Pavilion to the east. The first story of the structure acts as an entry to the rest of the temple grounds including the main temple courtyard. The second story of the structure is used for larger dharma talks. This large entry gate is beautifully adorned with vibrant dancheong colours.

Stepping into the main temple courtyard, you’ll find a three-story pagoda in the centre of the temple courtyard. To the right rear of this three-story pagoda is a small, crooked wooden pavilion that looks out onto neighbouring Gyeongju. There are also planters in this area with beautiful lotus flowers growing in them, as well as a more modern stone statue dedicated to Birojana-bul (The Buddha of Cosmic Energy) on a large boulder.

Beyond the three-story pagoda, but before arriving at the Daejeokgwang-jeon Hall, you’ll find a stone fountain with an image of a child-like monk at its centre. Making your way up to the main hall, you’ll find two stylized stone lions book-ending the stone stairs that lead up to the Daejeokgwang-jeon Hall. The exterior walls are adorned with the Shimu-do (Ox-Herding Murals), while the eaves are adorned with both dancheong and images of various Buddhas and Bodhisattvas.

Stepping inside the Daejeokgwang-jeon Hall, you’ll find the “Seated Stone Vairocana Statue at Gamsansa Temple.” It’s believed that this image of Birojana-bul dates back to the 8th century (around the time of the temple’s founding), which makes it one of the oldest extant images of this Buddha in Korea. The statue was missing its original nimbus and pedestal, and the current nimbus and pesdestal were added more recently. Additionally, the head and side of the statue were also damaged and later repaired. As a result, it’s difficult to determine what the statue originally looked like because of the extensive damage on the statue throughout the centuries. Currently, Birojana-bul is seated with its legs crossed and with knees wide apart. And mudra (ritualized hand gesture) that the statue is making of the “Wisdom Fist,” which is typical of Birojana-bul. The “Seated Stone Vairocana Statue at Gamsansa Temple” is a Tangible Cultural Heritage.

To the left of the main altar is a painting dedicated to Jijang-bosal (The Bodhisattva of the Aftelife), as well as a picture of the “Stone Standing Amitabha Buddha of Gamsansa Temple.” And to the right of the main altar you’ll find a large Shinjung Taenghwa (Guardian Mural), as well as a picture of the “Stone Standing Maitreya Bodhisattva of Gamsansa Temple.”

To the rear of the Daejeokgwang-jeon Hall is the “Three Storied Stone Pagoda of Gamsansa Site.” Over a small bridge and in an open field is the Unified Silla (668-935 A.D.) pagoda. In 1965, the pagoda was reconstructed. The pagoda now stands 3.3 metres in height. The lower part of the base consists of four stones. As for the upper part of the base, there are pillars carved on both the corners and centres of the four sides. The pagoda is partially damaged with both the second and third body stones missing.

To the left of the Daejeokgwang-jeon Hall and the “Three Storied Stone Pagoda of Gamsansa Site” are the living quarters and administrative office at Gamsansa Temple. And to the immediate right of the main hall, you’ll find the Geukrak-jeon Hall. The exterior walls to this building are adorned with murals of the Siwang (The Ten Kings of the Underworld) and the realms that they rule over. Stepping inside the Geukrak-jeon Hall, you’ll find a stone statue of Amita-bul (The Buddha of the Western Paradise) on the main altar. To the right and left of the main altar are a twin pair of paintings with hundreds of smaller images of Amita-bul. And on the far right wall, you’ll find a modern Shinjung Taenghwa (Guardian Mural).

And to the left of the Geukrak-jeon Hall, you’ll find the diminutive Sanshin-gak Hall. Instead of being able to step inside the shaman shrine hall, visitors need to worship outside the shrine. The painting housed inside the Sanshin-gak Hall is a modern interpretation of the classic Sanshin (Mountain Spirit) painting found inside the Jungakdan Shrine in Gyeryongsan Mountain at Sinwonsa Temple in Gongju, Chungcheongnam-do. Standing next to the image of Sanshin is a quizzical tiger that looks up at the branch of a tree that has a magpie perched upon it.

Out in front of the Sanshin-gak Hall, you’ll find the stone artifacts from the historic Gamsansa Temple. And to the south of these stone artifacts, you’ll a large pond with a pagoda at its centre, as well as a building for the Temple Stay program at Gamsansa Temple.

The “Stone Standing Amitabha Buddha of Gamsansa Temple” (right) and the “Stone Standing Maitreya Bodhisattva of Gamsansa Temple” (left). (Picture courtesy of the CHA).

The Statues of Gamsansa Temple

There are two statues that once resided at Gamsansa Temple that are now housed in the National Museum of Korea in Seoul. They are the “Stone Standing Maitreya Bodhisattva of Gamsansa Temple” and the “Stone Standing Amitabha Buddha of Gamsansa Temple.” Both were commissioned together in 719 A.D. by Kim Jiseong (the founder of Gamsansa Temple). The Maitreya (Mireuk-bul, the Future Buddha) was commissioned for Kim’s mother, while the Amitabha (Amita-bul, the Buddha of the Western Paradise) was commissioned for Kim’s father.

According to the inscriptions on the statues, which allows us to know for whom the statues were originally commissioned, we can glean even more information about their origins. The inscriptions also record how the ashes to Kim’s mother (who died at the age of sixty-six) and father (who died at the age of forty-seven) were scattered by the shore of Heunji (欣支) on the East Sea. Additionally, we learn that the statues were made to wish for the longevity and fortune of the king and for Kim Gaewon Ichan (the son of King Muyeol of Silla). Kim Jiseong, and based on the inscriptions on the statues, also hoped that his brothers, sisters, his wives, and all sentient beings of the world to attain Buddhahood. And these inscriptions were later quoted by the Samguk Yusa, Memorabilia of the Three Kingdoms in English, during the 13th century.

A rather interesting feature of the statues is that the inscriptions have notable differences in their writing style. Examples of this can be seen in the inscription on the “Stone Standing Amitabha Buddha of Gamsansa Temple” which uses the honourific terms when referring to Kim Jiseong. It also states that the inscription was composed by Nama Chong by the king’s orders and then transcribed by the monk Gyeongyung and Kim Chiwon. Also, the final line of this inscription on the Amita-bul statue details how Kim Jiseong died on April 22, 720 A.D. at the age of sixty-nine. The Maitreya statue is absent of this detail; therefore, it’s believed that the statue dedicated to Amita-bul was completed after Kim’s death, while the Mireuk-bul statue was completed during his lifetime.

As for the style of the two statues, they are important because they demonstrate the Buddhist sculpture style of Unified Silla that developed in the eighth century. Some of these distinguishing features are the thick eyelids and wide face. Also, despite their large size and weight, the two statues still exude a sense of serenity. However, the three-dimensional quality that will later develop by the mid-eight century as exemplified by the contents of Seokguram Grotto have yet to realized. Overall, though, the two statues from Gamsansa Temple display a delicate piouness. And the work are more refined in style than their predecessors in Silla Buddhist art.

The “Stone Standing Amitabha Buddha of Gamsansa Temple.” (Picture courtesy of the CHA).
The “Stone Standing Maitreya Bodhisattva of Gamsansa Temple.” (Picture courtesy of the CHA).

More specifically, the “Stone Standing Maitreya Bodhisattva of Gamsansa Temple,” which is the newer of the two, is more immense than the “Stone Standing Amitabha Buddha of Gamsansa Temple.” The statue stands 2.57 metres in height. The Mireuk-bul (Future Buddha) statue is adorned with a variety of exotic clothing and jewelry, including an ornate crown, double necklaces, and a long ornamental cloth hanging down the chest and arms. Additionally, a carved ornate bracelet appears on its arms, and a skirt is folded around its waist and decorated with jewels. The clothing and acessories follow the overall tradition of this time in East Asian Buddhist artistry.

However, while the statue follows in the tradition of Buddhist artwork from the Tang Dynasty and the eleven-faced Avalokitesvara Bodhisattva (Gwanseeum-bosal, the Bodhisattva of Compassion) from Japan’s Horyuji Temple, it also has distinct features all of their own. Examples of this uniqueness are found in the standing pose and crown with a tiny Bodhisattva that appears to be Gwanseeum-bosal in it. Additionally, and according to the 13th century Samguk Yusa, or the Memorabilia of the Three Kingdoms in English, documents how the “Stone Standing Maitreya Bodhisattva of Gamsansa Temple” was the “Maitreya Bodhisattva, the deity for the main hall of the temple.” With this knowledge, we can assume that Mireuk-bul was prominent at Gamsansa Temple and Silla society as a whole. The “Stone Standing Maitreya Bodhisattva of Gamsansa Temple” is National Treasure #81

The “Stone Standing Amitabha Buddha of Gamsansa Temple,” on the other hand, stands 1.74 metres in height. This statue, of the two, is assumed to be the older of the two, wears an outer robe that covers both shoulders. This robe has creases that ripple symmetrically downward. The robe clearly expresses the shape of the body of Amita-bul (The Buddha of the Western Paradise). Rather remarkably, the statue resembles the south side of the four-sided stone at Gulbulsa-ji Temple Site. Both images are similar in style of Buddhist sculptures from the Tang Dynasty, which originated from India. And it’s this style that finds a home in Silla from Tang and the monks that made pilgrimages back and forth from the two nations. The “Stone Standing Amitabha Buddha of Gamsansa Temple” is National Treasure #82.

How To Get There

From the Gyeongju Intercity Bus Terminal, you’ll need to take Bus #607 or Bus #605 and get off at the “Bamgat – 밤갖” bus stop. The ride will last about 40 minutes, or 33 stops. And from where the bus drops you off, you’ll need to walk 1.8 km, or 26 minutes, to get to Gamsansa Temple.

And if public transportation isn’t your thing, you can simply take a taxi from the Gyeongju Intercity Bus Terminal. The taxi ride will take about 30 minutes, and it’ll cost you 22,500 won (one way).

Overall Rating: 7/10

Let’s be honest, Gamsansa Temple would be even more special if it still housed the two National Treasures now at the Korean National Museum in Seoul. But with that being said, it still has a couple remnants from its past in the form of the “Seated Stone Vairocana Statue at Gamsansa Temple” inside the Daejeokgwang-jeon Hall and the “Three Storied Stone Pagoda of Gamsansa Site” behind the main hall. In addition to these two relgious artifacts, other things to enjoy at Gamsansa Temple is the painting inside the diminutive Sanshin-gak Hall and the artwork inside the Geukrak-jeon Hall. Overall, Gamsansa Temple, while newer in construction, still has a historic feel to it, as well.

Passing under the Boje-ru Pavilion and looking towards the Daejeokgwang-jeon Hall.
A statue of Birojana-bul (The Buddha of Cosmic Energy) that rests atop a large boulder with the main hall in the background.
The Boje-ru Pavilion and the three-story pagoda in the main temple courtyard at Gamsansa Temple.
A look up at the front of the Daejeokgwang-jeon Hall.
One of the Shimu-do (Ox-Herding Murals) that adorns the exterior walls of the Daejeokgwang-jeon Hall.
The main altar inside the Daejeokgwang-jeon Hall with the “Seated Stone Vairocana Statue at Gamsansa Temple” front and centre.
The Jijang-bosal (The Bodhisattva of the Afterlife) mural inside the main hall.
And the Shinjung Taenghwa (Guardian Mural) inside the Daejeokgwang-jeon Hall, as well.
The Daejeokgwang-jeon Hall from the rear with the “Three Storied Stone Pagoda of Gamsansa Site” in the foreground.
The Geukrak-jeon Hall at Gamsansa Temple.
One of the underworld murals that adorns the exterior walls of the Geukrak-jeon Hall.
The main altar inside the Geukrak-jeon Hall with a stone statue of Amita-bul (The Buddha of the Western Paradise) front and centre.
An incredible mural dedicated to Amita-bul inside the Geukrak-jeon Hall, as well.
The stone remnants of the historic Gamsansa Temple.
The mural dedicated to the Mountain Spirit that hangs inside the Sanshin-gak Hall.
And a purple lotus flower that was in full bloom, when I visited the temple.

The Truth About Learning Multiple Languages at Once

Over the years I've heard of people learning multiple languages at once, including Korean. While there are some downsides, this is more common than you may think. For example, there are thousands of people who are learning Korean every day through English, but whose native language is not English. In these cases, what should you know before trying this? Are there any major downsides to be aware of? Are there any benefits? I met with Hyunwoo and we discussed our experiences learning multiple languages, and what we'd recommend to others who are in this situation.

The post The Truth About Learning Multiple Languages at Once appeared first on Learn Korean with GO! Billy Korean.

Living History – Wayne Kelly (Exchange Student – 1971)

A Temple Abbot from 1973. (Picture Courtesy of Wayne Kelly).

One of the great things about running a website about Korean Buddhist temples is that you get to meet a lot of amazing people. And a lot of these amazing people have varying backgrounds, interests, and insights. Rather amazingly, some of these people first visited Korea in the 1960s, 1970s, and 1980s. Here are their stories!

1. Where are you originally from? Introduce yourself a little.

I’m a U.S. citizen but spent most of my childhood in Europe and much of my adult life in Asia.

2. When and why did you first come to Korea?

I arrived as an exchange student in late October, 1971. I was blessed to stumble into Korea at just the right time. Few spoke English, and fewer still had traveled outside the country. A peculiar guest in an enigmatic land, I entered an austere and sheltered society—insular and known for being so. The society that greeted me was warmer then. A kinder, people-centered milieu.

3. When you first came to Korea what city did you live? Did you subsequently move around?

I have only ever lived in Seoul, but I have visited all of the major cities and most of the minor ones on the peninsula. I was also an avid trekker in the 1970s and crisscrossed many of the mountain ranges. (Mt. Taebaeksan Sanmaek was my favorite.)  

4. What was the first temple you visited in Korea?

The first one I can recall by name was Bomunsa Temple on Seongmo-do Island.

5. What drew your interest to Korean Buddhist temples? (Buddhism, architecture, art, history, etc)

Acquainting myself with Buddhism without plans to do so was like jumping into the ocean without knowing how to swim. I wanted to know what it was and what the monks did and why. The skeptic in me said it was all a bunch of hooey. But my soul knew I had stumbled upon an opportunity to do something about my spiritual apathy. Here is a bit more of that backstory: A monk states the obvious to a troubled American.

6. What is your favourite temple? Why?

I am a bit partial to Hwagyesa Temple because that’s where I did a summer Gyeolchae retreat, and where I met Seungsahn Daeseonsa-nim (1927-2004).  

7. What temple or hermitage has changed the most from when you were first got here? What has changed about it?

Most temples have changed quite a bit as far as size and condition of facilities. When I first arrived, many were dilapidated and poverty-stricken. Much like most of the rest of Korea.   

8. What was the most difficult temple to get to? How did you get there?

Again, other than those in or near the cities, many of the temples/hermitages were difficult to access due to lack of infrastructure and travel conditions. Once you left the city, most of Korea’s roads were unpaved and in poor condition.  

9. Did you remain in Korea or did you return home?

Other than the years of my deportation during the Park regime (1962-79), I lived in Korea continuously for a total of over 25 years. I still regret my departure in 2001 due to family issues. 

Thinking 생각하다 | Live Class Abridged

To say "to think" requires knowing the Plain Form, and using it together with ~고 and the verb 생각하다. This form is different than using the 것 같다 form we learned previously, which also means "to think." In this lesson I summarize when and where to use both forms.

The post Thinking 생각하다 | Live Class Abridged appeared first on Learn Korean with GO! Billy Korean.

Yeolam-gok Valley on Mt. Namsan – 열암곡 (Gyeongju)

The “Maae-bul in Yeolam-gok Valley.”

Valley Layout

The Yeolam-gok Valley is located on the southeastern side of Mt. Namsan (495.1 m) in Gyeongju. The Yeolam-gok Valley is probably one of the least traveled portions of Mt. Namsan, especially when you consider that the mountain is home to such highlights as Chilbulam Hermitage, the Samreung Valley on the west side of the mountain, Bucheobawi, Sambulsa Temple, the Yongjangsa-ji Temple Site, and numerous other sites. In fact, Mt. Namsan is home to some 122 temples and temple sites, 53 stone statues, 64 pagodas, 16 stone lanterns, 36 monuments, royal tombs and even a fortress. Of this total number, two of these amazing sites can be found in the Yeolam-gok Valley.

From the southern parking lot of Mt. Namsan, which belongs to the Gyeongju National Park, you’ll make your way up an 800 metre long trail. Eventually, you’ll come to a clearing to your right where you’ll find the “Stone Seated Buddha in Yeolam-gok Valley” and the “Maae-bul in Yeolam-gok Valley.” To gain access to this clearing, you’ll need to head north for about 50 metres. Eventually, you’ll find a pathway that leads you into this clearing.

In May 2007, a seated Buddha statue in Yeolam-gok Valley in the southern part of Mt. Namsan was discovered while the Gyeongju National Research Institute of the Cultural Heritage Administration, which is in charge of protecting and promoting Korean cultural heritage in Gyeongju, was repairing the neighboring “Stone Seated Buddha in Yeolam-gok Valley.” Imagine the surprise of the person who discovered this massive 70-ton, 6.2-metre-tall high-relief image of the Buddha. What’s even more surprising about this high-relief image is that it was discovered in a fallen position perfectly preserved coming to rest some 10 centimetres from having its entire face destroyed by the rocky ground below.

As to how the “Maae-bul in Yeolam-gok Valley” first came to fall, it was surmised that the statue was toppled by an earthquake. The Korean Peninsula is considered a stable location in comparison to neighboring countries like Taiwan and Japan. However, according to historical records, this certainly doesn’t preclude the Korean Peninsula from having its fair share of earthquakes. In fact, according to several historical texts like the Samguk Sagi, or “History of the Three Kingdoms” in English, there have been several destructive earthquakes in the region like those in 768 A.D., 779 A.D. and 1036. The last two earthquakes were especially destructive causing severe damage to historical sites like the famed Hwangnyongsa Temple pagoda and Bulguksa Temple, both of which are also located in Gyeongju. In fact, the 779 A.D. earthquake is well-documented in the Samguk Sagi. In this book, the destruction caused by this earthquake is described as, “About 100 people are killed and a number of buildings are destroyed by the earthquake.” It’s believed that this earthquake had a magnitude of 6.7 on the Richter scale.

Based upon the initial studies of the Yeolam-gok-ji Temple Site, it was determined that the “Maae-bul in Yeolam-gok Valley” fell between 1130 and 1370. What’s peculiar about this time frame is that no major earthquake is recorded to have taken place at this time. However, further studies have revealed that the earthquake that detached the “Maae-bul in Yeolam-gok Valley” from its rock face had a 6.4 magnitude and hit the region in 1430. This then resulted in the statue falling and rotating 20 degrees clockwise and sliding several meters from its original position. Eventually, it would come to rest on a 45-degree slope some 800 metres up the Yeolam-gok Valley, miraculously still intact. And because of the way it fell, it had been perfectly preserved some 10 centimetres from the rocky ground.

As for the artistic style of the “Maae-bul in Yeolam-gok Valley,” it goes a long way in determining just how old it might be. Things that are typically considered are the carving style, the facial features and the clothing depicted when determining the age of a statue or relief. All three together help formulate a date for the relief’s construction. And with all this in mind, the “Maae-bul in Yeolam-gok Valley” was determined to have been first constructed around the late eighth century.

To further emphasize this destructive point of the earthquakes in the region, the previously mentioned “Stone Seated Buddha in Yeolam-gok Valley” was also completely destroyed by an earthquake. This statue is located some 20 metres to the north of the “Maae-bul in Yeolam-gok Valley.” The stone seated statue of the Buddha is about three metres in height, and it dates back to around the eighth or ninth century, which is around the same time that the “Maae-bul in Yeolam-gok Valley” is thought to have been first constructed. In 2005, some two years before the discovery of the “Maae-bul in Yeolam-gok Valley,” the head of the statue was located in the lower part of the valley. And after the head was rediscovered, the rest of the statue, nimbus and pedestal stone that had fragmented upon their falls, were placed upon a newly built pedestal. While the “Stone Seated Buddha in Yeolam-gok Valley” isn’t as perfectly preserved as the “Maae-bul in Yeolam-gok Valley,” both are now together, once more, on the Yeolamgok-ji Temple Site.

What makes this situation and this newly discovered high-relief even more interesting is the proposal to have it re-erected. The Jogye-jong Order, which is the largest Buddhist order in Korea, announced in January, 2023 that it had the intention of resurrecting the newly discovered treasure. The Gyeongju National Research Institute will be in charge of this project, which is expected to be completed sometime in 2025. But before this can be done, continued examination of the site, as well as numerous computer simulations, need to be completed in order to locate the perfect new location for the resurrected statue so as to avoid its former fate. The one major hitch is that a statue of such size and enormity has never been moved before, and the statue already displays some signs of cracking from its original fall.

How To Get There

You’ll first need to take a taxi from the Gyeongju Intercity Bus Terminal to the southern parking lot of the Gyeongju National Park for the Yeolam-gok Valley. The taxi ride should take about 20 minutes, or 17 km, and it’ll cost you around 20,000 won (one way). From the northern part of the upper parking lot, you’ll see a trailhead with a brown trail marker that reads “Seated Stone Buddha Statue of Yeoramgok.” Follow this trail for 800 metres until you come to the clearing that houses both the “Maae-bul in Yeolam-gok Valley” and the “Stone Seated Buddha in Yeolam-gok Valley.”

Overall Rating: 6/10

The “Maae-bul in Yeolam-gok Valley” is definitely one of the more peculiar things you’ll find anywhere in Korea. Just ten centimetres of space spared us this beautiful treasure. And for now, it remains tipped over; however, it appears as though it won’t stay this way for much longer. So if you want to see something a little different, and alongside the “Seated Stone Buddha Statue of Yeolam-gok,” you definitely need to make your way up the south side of Mt. Namsan and the Yeolam-gok Valley. It’s definitely one of the underappreciated places on Mt. Namsan in Gyeongju.

The brown trail marker at the head of the trail leading up the Yeolam-gok Valley.
Part of the 800 metre long trail leading up the Yeolam-gok Valley.
The protective barrier above the “Maae-bul in Yeolam-gok Valley.”
The “Seated Stone Buddha Statue of Yeolam-gok” (right) and the protective barrier to the “Maae-bul in Yeolam-gok Valley” (left).
The “Seated Stone Buddha Statue of Yeolam-gok.”
From the front.
And a close-up of the “Seated Stone Buddha Statue of Yeolam-gok.”
The protective barrier over top of the  “Maae-bul in Yeolam-gok Valley.”
The backside of the 70-ton, 6.2-metre-tall high-relief image of the “Maae-bul in Yeolam-gok Valley.”
The toppled “Maae-bul in Yeolam-gok Valley.”
An even closer look at the “Maae-bul in Yeolam-gok Valley.”
And a computer image of the “Maae-bul in Yeolam-gok Valley.”

Speaking Korean With My Bilingual Son at the Korean Folk Village

Recently my 7 year old son and I visited the Korean Folk Village, known as 한국민속촌, which is located near Suwon in Korea. This time we took a tour around the village and spoke together in Korean, and show you what it's like if you visit there. (This was not a sponsored video.)

The post Speaking Korean With My Bilingual Son at the Korean Folk Village appeared first on Learn Korean with GO! Billy Korean.

Living History – Gary and Mary Mintier (Peace Corp – 1969)

Gary Mintier at Seokbulsa Temple (Byeongpungam Hermitage) in Busan in 1970. (Picture Courtesy of Gary Mintier).

One of the great things about running a website about Korean Buddhist temples is that you get to meet a lot of amazing people. And a lot of these amazing people have varying backgrounds, interests, and insights. Rather amazingly, some of these people first visited Korea in the 1960s, 1970s, and 1980s. Here are their stories!

Q1: Where are you originally from? Introduce yourself a little.

A: I grew up in Ohio and graduated from Ohio University. I married Mary Ann Llewellyn from New Jersey.

Q2: When and why did you first come to Korea?

A: We joined the Peace Corps in October, 1968, and we went to Korea in January, 1969.

Q3: When you first came to Korea what city did you live? Did you subsequently move around?

A: We lived in Busan for 2 years and then moved to Seoul, where we spent almost 4 more years.

Q4: What was the first temple you visited in Korea?

A: Beomeosa [Temple] was the first temple we visited, since it was close to Busan and quite famous.

Q5: What drew your interest to Korean Buddhist temples? (Buddhism, architecture, art, history, etc)

A: My interest developed from the remoteness of many temples. They had a quiet solitude often not found in Korea’s cities at that time. Even the temple’s in the big cities somehow seemed to drown out the everyday noise of life. I would often take several buses to get to some of the mountain temples. And then an hour or so hike up a mountain to find what I thought was the best. Fortunately, I often arrived in the early afternoon and could then have lunch with the monks at those temples.

Seokbulsa Temple (Byeongpungam Hermitage) in 1970. (Picture courtesy of Gary Mintier).
Seokbulsa Temple in 2004. (Picture courtesy of Gary Mintier).
Seokbulsa Temple in 2004, as well. (Picture courtesy of Gary Mintier).

Q6: What is your favorite temple? Why?

A: My favorite temple is Seokbulsa [Temple] known back then as Pyungpungam [Byeongpungam Hermitage]. When I lived in Busan, it was only accessible by taking the cable car up to the old North Fortress and then turning left for a 45 minute hike across the top of the mountain. The path would lead you to just below the temple; and most times as you approached, you could hear monks chanting and striking a wooden bell or clapper [moktak].

Once there, I was amazed by the Buddhist figures carved out of stone. The carvings held up to the story that “sculptors do not create figures, but only release them from the surrounding stone.” And it also included an artesian well hidden in the cleft of other rocks. With the path as the only access, it was truly small but peaceful. I took many a friend there to see it.

Fast forward to 2004 on our first time back in Korea since 1975, and I wanted to see this temple again. The years had taken their toll on me and the hike across the mountain was a bit harder. There were more paths which were unmarked save from a few stones pointing the way. Luckily one of them read Pyungpungam [Byeongpungam Hermitage]. I arrived at my favorite temple rejoicing that it had not much changed. The one difference was that there was now a paved road leading up to it, LOL.

After a nice visit, I walked down the road and took the subway back to downtown Busan, where we were staying.

Q7: What temple or hermitage has changed the most from when you were first got here? What has changed about it?

A: Not sure how many other temples have changed. The only ones I have really revisited besides Seokbulsa [Temple] and Jogyesa [Temple] in Seoul is Beomeosa [Temple]. Of course, Jogyesa [Temple] is now surrounded by skyscrapers, but it still maintains a quietness about it. But Beomeosa [Temple] now has a great museum on site where it preserves the paintings that used to be outside displayed in the main gate. The entranceway has also been opened up and there is parking for cars which of course was very limited in 1970. Physically there are changes, but the spirit of the old temple still survives.

Q8: What was the most difficult temple to get to? How did you get there?

A: If you see question #6, you might think it was Seokbulsa [Temple]. Let me say this, while living in Korea, I had an old book in English that was a guide to Korea’s Mountain Temples and named something like that. It told a little about each temple and what buses to take to get there. In that book, I had made a few notes about each one. But alas, it was one of the few things that got lost in shipping from Korea. So, I have pictures of temples whose names I do not know and remember long hikes to get there. So, there were others, but whose names I do not know or how I got there.

Q9: Did you remain in Korea or did you return home?

A: We returned to the U.S.A. in 1975. We returned to visit Korea for the first time in 2004, again in 2013, and then most recently in August, 2023. We are scheduled to return in April and May of 2024. This coincides with the National Library ceremony for my donation to them. We are using the occasion to show our children and grandchildren (who want and can come) Korea, as well as, the Kyoto area of Japan. We will be their tour guides while in Korea and Kyoto!

Part of Mt. Geumjeongsan in Busan on the way up to Seokbulsa Temple in 1970. (Picture courtesy of Gary Mintier and the Busan Museum).
Seokbulsa Temple in 1970. (Picture courtesy of Gary Mintier and the Busan Museum).
A temple near Seoul in the early 1970s. (Picture courtesy of Gary Mintier).

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