by Jason Teale, Host of the Sajin Photography Podcast

Introduction

Hello, fellow photography enthusiasts, and welcome to another captivating post on the Sajin Photography blog. Today, I’m thrilled to delve into a topic that holds a special place in my heart – the evolution and empowerment of photography communities right here in Korea.

Setting the Scene

Over the years, these communities have undergone a remarkable transformation. What once served as vibrant hubs for insightful conversations have, to some extent, transitioned into platforms predominantly utilized for seeking answers and promoting events. In this post, we’ll explore strategies to reignite the spark of camaraderie within these communities.

Cultivating a Healthy Community

The essence of revitalizing these communities lies in nurturing a thriving ecosystem, rather than merely accumulating followers. I’ve observed a trend where new groups emerge, attempting to attract members by diverting them from existing communities. Let me share an intriguing incident – a group of photographers joined the Lightstalkers community I co-manage, but their perception shifted when they discovered we organized complimentary photowalks.

The Tale of Lightstalkers Photowalks

I extended an olive branch, proposing a collaborative effort where they could utilize Lightstalkers to plan their paid photowalks. This proposition aimed at harnessing our already-established member base. Surprisingly, their response wasn’t one of unity, but instead, they accused us of hidden agendas and departed, leaving negativity in their wake. Their intent seemed far from community-building, leaning more towards exploitation.

Spotting Self-Centered Patterns

This pattern isn’t isolated. We’ve encountered individuals within these groups who ardently voice opinions yet hesitate to take constructive action. In my personal photography group for Ulsan and Daegu, there were voices demanding more events in Daegu. However, these demands were accompanied by silence when it came to organizing such events. This disparity left Daegu members with limited opportunities, despite the vocal concern for more events.

Transitioning Towards Positivity

Let’s pivot from negativity to a positive transformation. How can we genuinely uplift these communities? It begins with a fundamental principle – assisting one another.

Contributing and Letting Go of Ego

Our tendencies often lead us to voice grievances without engaging in proactive actions. The responsibility of organization shouldn’t fall solely on one individual. This challenge becomes even more formidable considering the full-time commitments and familial responsibilities many foreigners juggle. Equally important is shedding our egos and purging toxic attitudes. Even I grapple with this – negativity can be alluring. Remember, fewer clashes of ego can only nurture the community.

The Hazard of Toxic Mindsets

Photography groups can suffer severely due to toxic attitudes and a lack of participation. The fear of criticism prevents new members or photographers from sharing their work, especially if they’ve witnessed derisive comments on others’ photos. To foster an environment of growth, we must champion one another and create a space that encourages creative expression.

Support and Encouragement as the Backbone

At the core, my emphasis rests on the bedrock of support – the very foundation upon which robust communities are constructed.

Sharing and Collaborating for Growth

Recent experiences have humbled me. Friends and colleagues have come to my aid in remarkable ways. Consider the case of my interview with Phillip Brett, who created an astonishing video showcasing my documentation of Ulsan. Phillip’s gesture of support and focus on community members actively contributing is a testament to the change we need.

The Bottomline

In closing, dear readers, I’ve shared my insights, my two cents. As we embrace the upcoming fall season, I encourage you to stay inspired. Until we reconvene, keep capturing those breathtaking moments through your lens and continue to preserve the beauty that we see everyday living here in Korea.

The post Building and Enhancing Photography Communities in Korea: A Journey of Support and Growth appeared first on The Sajin.

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.

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.

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.

Pictures of Colonial Era Jikjisa Temple

Specific Dates Unknown (1909-1945)

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 post Korean-Speaking Jeremy Makes & Devours Watermelon Hwachae 수박화채 appeared first on Learn Korean with GO! Billy Korean.