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.

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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.

Baengnyeonsa Temple is home to one Korean Treasure, the “Stele for the Construction of Baengnyeonsa Temple,” which is Korean Treasure #1396

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.

Stepping inside the Daeungbo-jeon Hall, you’ll be greeted by beautiful wall-to-wall dancheong colours and murals. The main altar triad is centred by Seokgamoni-bul (The Historical Buddha) and joined on either side by Amita-bul (The Buddha of the Western Paradise) and Yaksayeorae-bul (The Buddha of Medicine, and the Buddha of the Eastern Paradise). Rather uniquely, there is no datjib (canopy) above the heads of the main altar triad. Instead, all that appears is an older wooden sculpture of a dragon-head, which is flanked on either side by a haetae and a phoenix that are equally older. The interior of this fabulous main hall is rounded out with a Shinjung Taenghwa (Guardian Mural). The Daeungbo-jeon Hall at Baengnyeonsa Temple was first built in 1762.

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!

Temple History

Chiljangsa Temple is located in Anseong, Gyeonggi-do in a valley between Mt. Chiljangsan (492.1 m) and Mt. Jebiwolsan (294.4 m). “Chil” in the name of the temple means “seven” in English, which is an auspicious number in traditional Korean culture and Buddhism. As for “jang,” it’s a Chinese character that means “army general” in English. “Jang” also has the meaning of a spiritual guardian that protects people from bad fortune, as well. So the name of the temple, in English, means “Seven Army Generals Temple.” All of this, of course, relates to a temple legend at Chiljangsa Temple (more on that soon).

Chiljangsa Temple is said to have been first founded by Jajang-yulsa (590-658). Several centuries later, and in 1014, the temple was expanded by Hyeso-guksa (972-1054). The temple maintained its great reputation throughout the Goryeo Dynasty (918-1392), when Japanese pirates invaded Korea. The “Annals of the Goryeo Dynasty,” which were kept at a temple in Chungju, Chungcheongbuk-do were temporarily moved to Chiljangsa Temple to protect them from being destroyed in 1383.

During the Joseon Dynasty (1392-1910), Queen Dowager Inmok (1584-1632), who was the wife of King Seonjo of Joseon (r. 1567-1608), selected the temple as the place to pray for the spirits of her deceased father and son. As its location was regarded as being auspicious, many powerful families sought to seize the temple and make it their own private family cemetery. As a result, the temple was destroyed several times by fire. Ultimately, the temple would be destroyed by fire in 1389. Later, the temple would be rebuilt in 1506 by the monk Gansan.

The Chilhyeonsan Mountain Pass, which is where Chiljangsa Temple is located, was an important transportation hub located between Jincheon, Chungcheongbuk-do and Anseong, Gyeonggi-do. The name of the pass comes from the original tale of how seven thieves attempted to rob the temple when Hyeso-guksa was the abbot of the temple. As a result of the temple’s location, Chiljangsa Temple played a part in many tales related to thieves. One of these tales is related to Im Kkeok-jeong (1521-1562), who was considered a type of Robin Hood figure of the mid-Joseon Dynasty.

In 1704, during a large-scale reconstruction of the temple, more than fifty buildings were built on the temple grounds. However, the temple was burned down again in 1887, leaving only the Daeung-jeon Hall, the Wontong-jeon Hall, the Myeongbu-jeon Hall, the Nahan-jeon Hall, and the Sacheonwangmun Gate. Since then, the temple has undergone numerous reconstructions and rebuilds. Overall, the temple is now home to some twelve different buildings.

In total, Chiljangsa Temple is home to one National Treasure, three Korean Treasures, six Tangible Cultural Heritage, and one Cultural Properties Material.

Temple Legends

There are several tales and legends associated with Chiljangsa Temple. It’s said that when Hyeso-guksa was the abbot of the temple, seven thieves came to the temple to rob it. Influenced by the monk’s teachings, the thieves became enlightened. The Buddha statues that are currently housed inside the Nahan-jeon Hall are dedicated to these seven sages.

Another legend connected to the temple concerns Bak Munsu (1691-1756), who was a renowned official from the late Joseon Dynasty. While he was on his way to Hanyang (modern-day Seoul) to take the state examination, Bak spent one night at Chiljangsa Temple. As he slept, Bak had a dream about one of the Nahan (The Historical Disciples of the Buddha) who revealed to Bak the state examination question. As a result of this dream, and the content of this dream, Bak Munsu would go on to place first in the state examination.

Temple Layout

From the temple parking lot, and to the left of the Nu-gak Pavilion, you’ll find the Sacheonwangmun Gate. Chiljangsa Temple is rather oddly oriented with the Sacheonwangmun Gate located to the south. What’s strange about this is that the entry gate isn’t aligned with the main temple courtyard and the main hall. Instead, the Sacheonwangmun Gate sticks-out for being oddly placed in a non-linear line. As for the Sacheonwangmun Gate, it’s exterior walls are plainly adorned in dancheong colours. Stepping into the entry gate, you’ll notice four clay statues of the Four Heavenly Kings. It’s estimated that the statues date back to 1726, which makes them some of the oldest clay or wooden statues of the Four Heavenly Kings in Korea. They were made by creating a wooden frame and then later adding clay and colouring to the statues. They all have bulging eyes, raised black eyebrows, and they have wide open mouths that are meant to invoke fear. The four statues are adorned with crowns known as “bogwan” in Korean. These crowns are adorned with flowers, clouds, and flame patterns. Each wears armor, and each of the four wears a handkerchief around their necks. These statues, which are officially known as the “Four Clay Guardian Kings of Chiljangsa Temple,” are one of the six Tangible Cultural Heritage at Chiljangsa Temple.

Emerging on the other side of the entry gate, and to the right, you’ll notice the Beomjong-gak Pavilion. Housed inside this bell pavilion are three of the four traditional Buddhist percussion instruments. These instruments at Chiljangsa Temple include the Beomjong (Brahma Bell), the Mokeo (Wooden Fish Drum), and the Unpan (Cloud Plate Drum).

Passing to the left of the Beomjong-gak Pavilion, you’ll pass by the backside of a shrine hall with beautiful murals dedicated to Hyeso-guksa and the seven thieves that would become enlightened. From the front, you’ll discover that this shrine hall is in fact the Myeongbu-jeon Hall. Housed inside this hall are the Siwang (The Ten Kings of the Underworld) and a green haired image of Jijang-bosal (The Bodhisattva of the Afterlife) on the main altar. Five of the ten statues are seated on either side of the main altar and Jijang-bosal. To the immediate right and left of Jijang-bosal are a pair of statues. They are Domyeong-jonja and Mudokgwi-wang. Between the Siwang, on the other hand, you’ll find statues of Noksa (figures holding scrolls), who write down and announce the verdicts of the Siwang. And on either side of the entry doors to the Myeongbu-jeon Hall, you’ll find statues dedicated to the Geumgang-yeoksa (Vajra Warriors). Based on an inscription found on the lotus flower pedestal of Jijang-bosal, the Bodhisattva statue was produced between February 25 to May 27, 1713. Officially, these statues are known as the “Wooden Ksitigarbha Bodhisattva Triad and Ten Underworld Kings of Chiljangsa Temple,” and they are yet another Tangible Cultural Heritage at Chiljangsa Temple.

Turning around, and now facing the main courtyard, you’ll find an older three-story stone pagoda in the centre of the courtyard. This pagoda stands in front of the Daeung-jeon Hall at Chiljangsa Temple. The Daeung-jeon Hall is Korean Treasure #2036 as of August, 2019. The exterior walls are adorned in white panels and fading dancheong colours. The Daeung-jeon Hall was remodeled in 1790 and was rebuilt in 1828. Stepping inside the Daeung-jeon Hall, you’ll find a triad of statues known as the “Wooden Seated Buddha Triad of Daeungjeon Hall at Chiljangsa Temple” on the main altar. The central image is that of Seokgamoni-bul (The Historical Buddha), who is joined on either side by Mireuk-bul (The Future Buddha) and Yeondeung-bul (The Past Buddha). The statue were first sculpted in 1685 by eight sculptor monks. The central image of Seokgamoni-bul has a slight smile, while those of the accompanying Buddhas have beautifully ornate crowns. This triad is yet another of the Tangible Cultural Heritage at Chiljangsa Temple.

Rounding out the interior of the Daeung-jeon Hall is an older solitary Siwang (Ten Kings of the Underworld) painting when you immediately enter the main hall. Hanging on the far right wall is a mural dedicated to Jijang-bosal, as well as a Chilseong (Seven Stars) mural. The final mural inside the Daeung-jeon Hall, and hanging on the far left wall, is an older Shinjung Taenghwa (Guardian Mural) with a central image of Dongjin-bosal (The Bodhisattva that Protects the Buddha’s Teachings) who has a helmet adorned with large wings.

To the immediately left of the Daeung-jeon Hall is the Wontong-jeon Hall, which is equally adorned with fading dancheong around its exterior walls. Stepping inside the Wontong-jeon Hall, you’ll find a statue dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion) wearing a large, regal crown. The interior is lined with white porcelain statuettes of Gwanseeum-bosal, as well as an older Shinjung Taenghwa (Guardian Mural).

To the left of the Wontong-jeon Hall is the off-limits Josa-jeon Hall. And to the left of the Josa-jeon Hall, but before making the ascent towards the upper courtyard at Chiljangsa Temple, is the Gongdeok-jeon Hall. The exterior walls are adorned with murals dedicated to Amita-bul (The Buddha of the Western Paradise) and a Dragon Ship of Wisdom mural, as well. Stepping inside this compact shrine hall, you’ll find a main altar triad centred by Amita-bul and joined on either side by Jijang-bosal and Gwanseeum-bosal. Hanging on the far right wall is a vibrant Gamno-do (Sweet Dew Mural).

Now making the walk up towards the upper courtyard, you’ll first come across the Nahan-jeon Hall. Stepping inside the Nahan-jeon Hall, you’ll find a main altar with seven white, stone Nahan statues. These are the seven sages from the temple legend. These seven statues are backed by another white statue; this time, of Seokgamoni-bul. This older stone image dedicated to the Historical Buddha is joined on either side by two modern statues dedicated to Mireuk-bul and Yeondeung-bul.

To the right of the Nahan-jeon Hall is the pavilion that houses the “Stele for State Preceptor Hyeso at Chiljangsa Temple,” which is Korean Treasure #488. The stele was first constructed in 1060. This stele was erected to commemorate the life and achievements of Hyeso-guksa. Presently, the three parts that comprise a traditional biseok (stele) are placed separately inside the pavilion with the main body stone erected to the left of the tortoise-shaped pedestal. The main body stone is made of black marble. The inscription of the stele records the life, achievements, and virtues of Hyeso-guksa. As for the capstone, it has two dragons and swirling clouds adorning it. Overall, the stele is well-preserved.

In addition to how well preserved the stele is, there is also a legend that surrounds the “Stele for State Preceptor Hyeso at Chiljangsa Temple,” as well. This legend is related to Katō Kiyomasa (1562-1611), who was a Japanese general during the invasion of the Korean Peninsula during the Imjin War (1592-98). During this invasion, and in 1592, Katō arrived at Chiljangsa Temple. During this visit, an old monk suddenly appeared to rebuke Katō for his numerous transgressions. Katō grew angry with the elderly monk, so Katō attempted to stab the monk with his sword. But before Katō could slash at the elderly monk, the monk had vanished. So instead of killing the monk, Katō cracked the stele with his thrust. Rather remarkably, not only was the stele cracked, but it was left bleeding, as well. Frightened by this extraordinary event, Katō fled the temple and the area. Whether the legend was made to fit the condition of the stele, or vice versa, the current shape of the stele has a crack through the centre of the historic stele dedicated to Hyeso-guksa.

And to the rear of the pavilion that houses the “Stele for State Preceptor Hyeso at Chiljangsa Temple” is the temple’s Samseong-gak Hall. The shaman shrine hall houses three newly rendered images dedicated to Chilseong (The Seven Stars), Dokseong (The Lonely Saint), and Sanshin (The Mountain Spirit). Of the three, have a look at the ferocity of the tiger that accompanies Sanshin in his mural.

How To Get There

From the Anseong Intercity Bus Terminal, you’ll need to take Bus #37, Bus #37-1, or Bus #370. You’ll then need to get off at the “Juksan Samgeo-ri – 죽산삼거리” stop after 21 stops. And from this bus stop, you’ll need to take Bus #3-2. From this bus, you’ll need to get off at the “Sanjik/Chiljangsa – 산직/칠장사” stop after ten bus stops. From this stop, you’ll need to walk just three minutes to get to the temple.

And if public transportation isn’t your thing, you can simply take a taxi from the Anseong Intercity Bus Terminal. The taxi ride will take 30 minutes, and it’ll cost you 30,000 won.

Overall Rating: 8.5/10

There’s a lot to see and appreciate at Chiljangsa Temple. There are wonderful legends directly connected to the founding and expansion of the temple. Additionally, there are beautiful statues inside both the Myeongbu-jeon Hall and the Daeung-jeon Hall. The artwork that adorns the exterior of the Myeongbu-jeon Hall and the Gongdeok-jeon Hall shouldn’t be overlooked either. But the main highlights to this temple are the statues inside the Sacheonwangmun Gate, the white, stone statues inside the Nahan-jeon Hall, and the “Stele for State Preceptor Hyeso at Chiljangsa Temple.” Take your time and enjoy all that Chiljangsa Temple has to offer.