Temple History

Daewonsa Temple in Sancheong, Gyeongsangnam-do, which shouldn’t be confused with the numerous other temples in Korea with the same name, is located in the northeastern part of Jirisan National Park. Daewonsa Temple was first founded in 548 A.D. by Yeongi-josa, who also founded Hwaeomsa Temple in 544 A.D. and Yeongoksa Temple in 543 A.D. It’s believed that Yeongi-josa was from India. Originally, the temple was called Pyeongwonsa Temple. Then during the mid-600s, Jajang-yulsa (590-685 A.D.) purportedly built the Multi-Story Stone Pagoda of Daewonsa Temple.

For the next 1,000 years, the temple ceased to exist. Eventually, the temple was rebuilt only to be destroyed in 1592 by the invading Japanese during the Imjin War (1592-1598). In 1685, the temple was rebuilt, once more, and renamed Daewonam Hermitage. In 1784, the Multi-Story Stone Pagoda of Daewonsa Temple was rebuilt. It was at this time that 72 sari (crystallized remains) were discovered inside the pagoda.

In 1890, the temple was renamed Daewonsa Temple and expanded. Then on January 12th, 1914, the temple was destroyed by fire, once more. Finally in 1917, the temple was rebuilt; this time, with 12 buildings in all. Then another fire consumed part of Daewonsa Temple in 1948 during the Yeosu –Suncheon Rebellion (October – November 1948). The remaining parts of the temple fell into further disrepair during the Korean War (1950-1953). Then in September, 1955, the Buddhist monk Beopil rebuilt and restored Daewonsa Temple. Beopil would remain the abbot of the temple until 1986 upon his death.

Now, next to Unmunsa Temple in Cheongdo, Gyeongsangbuk-do; Sudeoksa Temple in Yesan, Chungcheongnam-do; and Seoknamsa Temple in Ulju-gun, Ulsan, Daewonsa Temple is one of the four major temples for nuns (biguni – 비구니) in Korea. Daewonsa Temple is home to one Korean Treasure, and you might have already guessed it, it’s Multi-Story Stone Pagoda of Daewonsa Temple, which is Korean Treasure #1112.

Temple Layout

The road leading up to Daewonsa Temple is one of the more picturesque that you’ll find at a Buddhist temple in Korea with its cascading stream that flows all the way up to the temple grounds. Purportedly, a dragon lived in this stream for a hundred years.

When you finally do arrive at Daewonsa Temple, you’ll be greeted by a large front facade. Walking up a wide set of stairs, you’ll see a pair of stone lions just in front of the entry gate. The entry gate is a two-story structure. This is the Bongsang-ru Pavilion. The first story now functions as the temple’s gift shop, while the second story is used for large gatherings. Having passed through the Bongsang-ru Pavilion, you’ll notice a compact, yet colourfully painted, Beomjong-gak Pavilion (Bell Pavilion) to your right.

Standing squarely in the main temple courtyard, you’ll find numerous structures awaiting you. To your immediate right is the temple’s administrative office, while to your immediate left are the nuns’s dorms, the Yosachae. Straight ahead of you, on the other hand, is the Daeung-jeon Hall. The exterior walls are adorned with fading Shimu-do (Ox-Herding Murals). Stepping inside the Daeung-jeon Hall, you’ll notice a triad of statues resting under a canopy-free altar. The central image is dedicated to Seokgamoni-bul (The Historical Disciple), while the two standing images that flank Seokgamoni-bul are dedicated to Munsu-bosal (The Bodhisattva of Wisdom) and Bohyeon-bosal (The Bodhisattva of Power). Hanging to the left of the main altar are two shaman murals. The one hanging to the right is dedicated to Chilseong (The Seven Stars), while the other is dedicated to Dokseong (The Lonely Saint). To the right of the main altar is a simplistic Shinjung Taenghwa (Guardian Mural). And on the backside of the main altar is a red mural with Seokgamoni-bul sitting in the centre of a well-populated mural of Bodhisattvas and Buddhas.

To the right of the Daeung-jeon Hall is the Multi-Story Stone Pagoda of Daewonsa Temple. The eight-story pagoda (strange that it has an even number instead of the traditional odd number like three, five, seven, or nine) stands in front of the Sari-jeon Hall. The pagoda rests upon a two-story platform. Additionally, only part of the finial still remains atop the pagoda. The most striking feature about the pagoda is the top platform. Instead of being adorned with reliefs of pillars, the pagoda has four large statues of the Four Heavenly Kings on each of the four corners of the platform. The roof-stones are rather thick, and the corners are slightly turned upwards. According to one temple legend, there’s a strong fragrance that gets emitted from the pagoda when the nation has had a happy event. Another temple legend states that those with a clean spirit are able to see the sari enshrined inside the pagoda through the reflection of the nearby pond. The pagoda was purportedly constructed in the mid-600s by Jajang-yulsa.

To the left of the Daeung-jeon Hall, on the other hand, is the Wontongbo-jeon Hall. This shrine hall is beautifully adorned with various murals including a white-clad image of Gwanseeum-bosal (The Bodhisattva of Compassion) wrapped around its exterior walls. As for the main altar inside the Wontongbo-jeon Hall, you’ll find a serene image of Gwanseeum-bosal. The statue of the Bodhisattva of Compassion rests inside a semi-enclosed altar with wooden lotus flower trim surrounding the altar. To the left of the main altar is a beautiful Shinjung Taenghwa (Guardian Mural). And behind the main altar is a multi-armed and headed mural of Gwanseeum-bosal.

Next to the Wontongbo-jeon Hall are two off-limit structures. The first is the Cheongwang-jeon Hall, which is a hall for novice nuns at the temple. The other is the Yeomhwa-jeon Hall. The final shrine hall in this part of the temple grounds is the Myeongbu-jeon Hall. Sitting on the main altar is a green-haired statue dedicated to Jijang-bosal (The Bodhisattva of the Afterlife), who holds a golden staff in his hands. And he’s joined on either side by the Siwang (The Ten Kings of the Underworld).

Located to the rear of the Wontongbo-jeon Hall, and up the hillside, is the Sanwang-jeon Hall. What’s truly remarkable about this shaman shrine hall is that the Sanshin (Mountain Spirit) inside is female. This female Sanshin is similar to other images of the shaman deity at other temples in Jirisan National Park like at Ssanggyesa Temple. Resting on the main altar, in a glass enclosure, is a statue of a female Mountain Spirit joined by a white tiger. And this statue is backed by a painting with a similar appearance as the statue. Both are graceful in appearance.

How To Get There

If you’re using public transportation, there is no bus that goes directly from the Sancheong Intercity Bus Terminal to Daewonsa Temple. Instead, you’ll need to make your way to the Jinju Intercity Bus Terminal. From here, you’ll need to catch a connecting bus to Daewonsa Temple. The bus to Daewonsa Temple leaves nearly every hour, and it runs from 6:30 a.m. to 8:30 p.m. In total, the bus ride out to Daewonsa Temple from the Jinju Intercity Bus Terminal takes about seventy to eighty minutes (depending on traffic).

However, if public transportation isn’t your thing, you can simply catch a taxi from the Sancheong Intercity Bus Terminal. The taxi ride will take about 25 minutes over 16 km. And it’ll cost you 19,000 won (one way).

Overall Rating: 7.5/10

Daewonsa Temple is an active nunnery with a large population of nuns, so you should be respectful and on your best behaviour. Now, with that being said, there are several highlights to Daewonsa Temple like the beautiful environment that surrounds the temple as part of Jirisan National Park. Another major highlight is the graceful image of the female Sanshin (Mountain Spirit) inside the Sanwang-jeon Hall. A couple other highlights are the rather obvious Multi-Story Stone Pagoda of Daewonsa Temple and the altar image of Gwanseeum-bosal inside the Wontongbo-jeon Hall. The temple is a beautiful mixture for the senses.

Temple History

Geumsansa Temple, which means “Golden Mountain Temple” in English, is located in a flat river valley on the western slopes of Moaksan Provincial Park in Gimje, Jeollabuk-do. Geumsansa Temple was first established in either 599 or 600 A.D., depending on the source, during the reign of King Beop of Baekje (r. 599-600 A.D.). When it was first built, it was rather unassuming and nothing like it is today. It wasn’t until 762 A.D., under the guidance of the monk Jinpyo (8th century), that Geumsansa Temple was rebuilt. Geumsansa Temple was rebuilt over a six year period. Numerous buildings at the temple were rebuilt at this time including the original Mireuk-jeon Hall, which was built in 766 A.D.

There’s an interesting legend that surrounds the reconstruction of Geumsansa Temple by Jinpyo. When Jinpyo decided to dedicate a temple to Mireuk-bul (The Future Buddha), he didn’t know the best location for this temple. So while looking around Jeonju, he met Yongwang (The Dragon King). Jinpyo was presented with a jade robe by Yongwang. After, Yongwang guided Jinpyo to the site of a ruined temple at the foot of Mt. Moaksan (793m). The ruined location was said to be the home of a powerful female Sanshin (Mountain Spirit). Miraculously, and seemingly from out of thin air, men and women arrived to offer assistance in reconstructing the former temple. The temple was rebuilt over the span of a couple of days; and it was at this time that Mireuk-bul appeared and granted Jinpyo his final ordination as a Buddhist monk. Mireuk-bul also gave Jinpyo some sari (crystallized remains) of the Buddha, Seokgamoni-bul. To help commemorate this event, Jinpyo built the enormous Mireuk-jeon Hall with three standing bronze statues inside. Jinpyo also purportedly built the Gyedan (Precepts Altar) at Geumsansa Temple. Housed inside the stupa on top of the Gyedan are the sari of the Buddha. Perhaps a stretch, but a wonderful foundation myth all the same.

Later, King Gyeon Hwon, of Later Baekje, or “Hubaekje” in Korean, who reigned from 900 to 935 A.D., had parts of Geumsansa Temple repaired. Ironically, he was later held captive at Geumsansa Temple after his son, King Gyeon Singeom, usurped his father’s throne and had him imprisoned. The temple underwent numerous changes during the Goryeo Dynasty (918-1392). King Munjong of Goryeo’s (r.1046-1083) teacher, the monk Hyedeok (1038-1096), further renovated the look of the temple during this time. Then, in the waning years of the Goryeo Dynasty, Weonmyeong-daesa (1262-1330) had the temple rebuilt, once more.

Even after the Joseon Dynasty (1392-1910) came to power, the Mireuk-bul tradition at the temple remained strong. In 1592, Geumsansa Temple was made the headquarters by the government to oversee all temples in the region for Jeollanam-do Province. During the initial attack of the Korean Peninsula by the Japanese as part of the Imjin War in 1592-1593, it saw Geumsansa Temple used as a training ground for Buddhist monks known as the Righteous Army. In total, over a thousand monks were led by the monk Noemuk to help defend the Korean Peninsula from the Japanese aggressors. It was during the second wave of the Imjin War from 1597-1598, which is known as “Second War of Jeong-yu,” that Geumsansa Temple became a headquarters for the Righteous Army. Tragically, not only were forty regional hermitages destroyed, but so too was Geumsansa Temple and the famed Mireuk-jeon Hall.

The restoration of Geumsansa Temple began in 1601, and it was completed over a thirty year period ending in 1635. Most of the temple buildings, including the rebuilt Mireuk-jeon Hall, date back to this period of time. And it’s because of these efforts that Geumsansa Temple is one of the largest Buddhist temples in Korea.

In total, Geumsansa Temple is home to one National Treasure, ten Korean Treasures, one Historic Site, and one National Registered Cultural Heritage.

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 tourism 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 Geumsansa Temple played a part in the propagation of this propaganda, especially since it played such a prominent role in Korean Buddhist history and culture. Here are a collection of Colonial era pictures and drawings of Geumsansa Temple through the years.

Pictures of Colonial Era Geumsansa Temple

1910

Pictures of Colonial Era Geumsansa Temple

1934

Pictures of Colonial Era Geumsansa Temple

Specific Dates Unknown (1909-1945)

Hermitage History

Baekheungam Hermitage is located in Yeongcheon, Gyeongsangbuk-do on the temple grounds of Eunhaesa Temple. In fact, if you continue to travel west upon one of the temple roads, you’ll come to Baekheungam Hermitage. Baekheungam Hermitage was first founded in 861 A.D., some fifty years after Eunhaesa Temple was first established in 809 A.D. When the hermitage was first founded, it was called Baekjisa Temple. The original name came from the fact that pine nuts were often found around the hermitage grounds.

For several hundred years, there were no records related to Baekheungam Hermitage. It’s not until the early Joseon Dynasty (1392-1910) that we learn more about this hermitage. In 1546, the hermitage was designated as a place to store and protect the placenta chamber of King Injong of Joseon (r. 1544–1545). It was at this time that the hermitage changed its name to its current name of Baekheungam Hermitage.

The hermitage is now used for nuns, or bhikkuni in Korean. In total, Baekheungam Hermitage is home to two Korean Treasures. They are the Buddhist Altar at Baekheungam Hermitage of Eunhaesa Temple, which is Korean Treasure 486; and the other is the Geungnak-jeon Hall of Baekheungam Hermitage of Eunhaesa Temple, which is Korean Treasure #790.

Also be aware that this hermitage is only open twice a year (once for Buddha’s Birthday, and I’m not sure of the other day). The hermitage staff is quite assertive about only visiting the hermitage on these two days. If you visit on any other day, they’ll ask you to leave, and they probably won’t be all that nice about it either.

Hermitage Layout

You first approach Baekheungam Hermitage from the south. And the first structure to greet you is the large two-story Bohwa-ru Pavilion. The first story of the structure is the former way that you once entered the hermitage grounds. And the second story acts as a hall for meetings. The exterior walls to the Bohwa-ru Pavilion have retained their natural wood colour with extremely faded dancheong colours.

But it’s between the Bohwa-ru Pavilion and the Simgeop-dang Hall to the right that you’ll enter the main temple courtyard. To your left is the Jinyeong-gak Hall. But it’s straight ahead of you that you’ll find the amazing Geukrak-jeon Hall that dates back to 1643. Like the Bohwa-ru Pavilion, the hermitage has allowed the exterior walls to return to the natural wood colours. But if you look close enough, especially up near the eaves of the shrine hall, you’ll find dancheong colours and images of various Buddhas and Bodhisattvas.

Stepping inside the Geukrak-jeon Hall, and looking up at the ceiling, you’ll find a beautiful collection of dancheong paintings that include flowers, Nahan (The Historical Disciples of the Buddha), Buddhas, Bodhisattvas, and dragons. These paintings are believed to date back to the late Joseon Dynasty (1392-1910). As for the main altar, there are three images. They include the central image of Amita-bul (The Buddha of the Western Paradise), who is joined on either side by Gwanseeum-bosal (The Bodhisattva of Compassion) and Daesaeji-bosal (The Bodhisattva of Wisdom and Power for Amita-bul). This triad rests upon the Buddhist Altar at Baekheungam Hermitage of Eunhaesa Temple. In Korean, this altar is known as the “sumidan,” which is a pedestal modeled after Mt. Sumeru, a sacred mountain with five peak in Buddhist cosmology. This altar is 125 cm in height and 413 cm in width. In total, there are five layers that make up the altar. Each layer is sub-divided into five rectangular-shaped sections. The top layer is engraved with reliefs with panel decorations. The second layer is engraved with phoenixes, peacocks, cranes, and pheasants. The third layer, on the other hand, is very elaborate with dragons, children, fish, and frogs. The fourth layer is engraved with elephants, lions, and deer; all of which are carved inside flower pattern designs. Both ends of the bottom layer of the main altar are carved with faces of Gwimyeon (Monster Masks) and a dragon pattern in the centre of the bottom layer. It’s believed that this wonderful main altar dates back to the late Joseon Dynasty, during the 17th century, when the Geukrak-jeon Hall was first constructed.

The main altar rests under an ornate canopy with a swirling blue dragon on the underside of the canopy. And backing the main altar triad is an older altar mural dedicated to Amita-bul. The final thing in this amazing main hall is the Gamnowang-do (Sweet Dew Mural) that hangs on the far left wall. This older ritual mural dates back to 1792, and it’s Gyeongsangbuk-do Tangible Cultural Property #319. The focus of this mural are the two Hungry Ghosts (Agwi) at the centre of the mural. The mural is quite large in size measuring 218.5 cm wide by 225 cm long. The Gamnowang-do follows the traditional three sections (upper, middle, and lower) of this style of ritual painting. If the Geukrak-jeon Hall is open to the public, take your time and take it all in. You’ll probably never be able to take a picture inside this main hall, but it doesn’t take away from the overall splendor of this amazing structure.

To the right of this courtyard is the administrative offices at Baekheungam Hermitage. And to the left of this courtyard is another courtyard that houses three additional shrine halls at the hermitage. The first of these three shrine halls, and slightly to the right (north) is the Myeongbu-jeon Hall. Behind this shrine hall, and slightly elevated up a set of stairs, are the Sanshin-gak Hall and the Yeongsan-jeon Hall. The larger of the two is the Yeongsan-jeon Hall, which was built in 1858, and it’s to the left. Stepping inside the Yeongsan-jeon Hall, you’ll find an image of Seokgamoni-bul (The Historical Buddha) on the main altar. This central image is joined on either side by sixteen Nahan (The Historical Disciples of the Buddha) statues. These sixteen statues are backed by large murals of the Nahan, as well. And hanging on the far right wall is a smaller Shinjung Taenghwa (Guardian Mural). As for the Sanshin-gak Hall, which is located to the right, it houses a solitary image of Sanshin (The Mountain Spirit).

How To Get There

To get to Baekheungam Hermitage, you’ll first need to get to Eunhaesa Temple, which is where the hermitage is located. You can catch a bus to Eunhaesa Temple from the Yeongcheon Intercity Bus Terminal. These buses leave the terminal eight times a day. The bus ride will take about 45 minutes. From Eunhaesa Temple, you’ll need to walk west of the main temple for 3.5 km. The walk will take anywhere from 45 minutes to an hour depending on ability.

Overall Rating: 6/10

Baekheungam Hermitage is one of the most impressive hermitages that you’ll visit in Korea. The only problem with Baekheungam Hermitage is that it’s typically off-limits to the public. And when it is, in fact, open to the public, it’s closely monitored by the staff at the hermitage. With all that being said, the Geukrak-jeon Hall is one of the most beautiful shrine halls that you’ll visit in Korea with its natural wood exterior and fading dancheong colours. As for the interior, it’s main altar is arguably the most artistically impressive sumidan in all of Korea. Also equally impressive is the Gamnowang-do (Sweet Dew Mural) that hangs to the left of the main altar. Another interesting aspect to the hermitage is that it has just as many shrine halls as a medium sized temple. While you’re probably never going to be able to take pictures at this hermitage, even being able to visiting Baekheungam Hermitage is something pretty special.