Hermitage History

Mujinam Hermitage is located in western Buyeo, Chungcheongnam-do in the southern foothills of Mt. Mansusan (575 m). Additionally, the Mujinam Hermitage is directly associated with Muryangsa Temple and located just to the south of the main temple. Like the neighbouring Muryangsa Temple, Mujinam Hermitage was first built during Unified Silla (668-935 A.D.) by Beomil-guksa (810-889 A.D.). Eventually, the hermitage would be destroyed during the Imjin War (1592-98) only to be rebuilt during the reign of King Injo of Joseon (r. 1623-1649). In more recent years, the hermitage has become a nunnery for Buddhist nuns.

Hermitage Layout

As you first approach the hermitage, you’ll be welcomed to the grounds by a dozen stupas. It’s just past this budowon, as well as the nuns’ dorms, that you’ll finally enter the compact courtyard at Mujinam Hermitage.

Slightly to the right, you’ll immediately notice the Daeung-jeon Hall with a modern three-story stone pagoda out in front of it. The base of the pagoda is adorned with various Buddhist iconography that includes the Four Heavenly Kings, four lions, and Bodhisattvas. The body of the pagoda is simple with its upturned roof stones, and the finial is wonderfully ornate.

As for the Daeung-jeon Hall that backs this pagoda, the exterior walls are adorned in simple Palsang-do (The Eight Scenes from the Buddha’s Life Murals), as well as paintings of the Four Heavenly Kings. And near the front entry of the main hall, you’ll find a pair of large, ornamental dragons near the signboard to the shrine hall. Stepping inside the Daeung-jeon Hall, you’ll find a triad of statues under the main hall. The central image is that of Seokgamoni-bul (The Historical Buddha), who is joined on either side by Gwanseeum-bosal (The Bodhisattva of Compassion) and Jijang-bosal (The Bodhisattva of the Afterlife). The triad rests on the main altar under a large, golden canopy. The first painting directly to the right of the main altar is a golden Chilseong (Seven Stars) mural. It’s joined on the far right wall by an equally golden Shinjung Taenghwa (Guardian Mural). Both are quite original in their compositions.

To the right rear of the Daeung-jeon Hall, you’ll find an outdoor shrine with a beautiful modern statue dedicated to Yaksayeorae-bul (The Buddha of Medicine, and the Buddha of the Eastern Paradise). Rather interestingly, there’s a stone roof-like structure over the head of Yaksayeorae-bul with a lotus flower relief on its underside. And on either side of the statue’s head are two Bicheon (Flying Heavenly Deities) reliefs. As for the mandorla that surrounds the statues entire body, there are fiery reliefs etched onto it.

And to the left rear of the Daeung-jeon Hall, you’ll find an unpainted Sanshin/Dokseong-gak Hall. Stepping inside this shaman shrine hall, you’ll see two murals: one dedicated to Sanshin (The Mountain Spirit) and the other to Dokseong (The Lonely Saint). Both shaman deities are wearing beautiful gold clothes, as are the dongja (attendants) that stand near them. In addition to these golden paintings, there is a nice wooden statue dedicated to Sanshin out in front of the mural dedicated to the Mountain Spirit.

How To Get There

To get to Mujinam Hermitage, you’ll first need to head in the direction of Muryangsa Temple. From the Buyeo Intercity Bus Terminal, you’ll need to head left out the exit and continue to walk towards the big street. After crossing the road, take Bus #127 from the Buyeo Market Bus Stop. Then, at the Muryang Village Bus Stop, which is 37 stops away, get off and walk towards Muryangsa Temple. However, before arriving at the larger Muryangsa Temple, hang a left for about 200 metres before arriving at the temple to get to Mujinam Hermitage.

Overall Rating: 3.5/10

While small in size, there are a few highlights to Mujinam Hermitage. One of these highlights is all the gold clothing of the various shaman deities found in all the murals at the hermitage. Also, the masterful stone statue of Yaksayore-bul, as well as the hermitage’s modern three-story pagoda, are something to have a closer look at while visiting this hermitage. And in combination with the neighbouring Muryangsa Temple, a trip to Mujinam Hermitage can make for a nice little day trip.

Hermitage History

Seochukam Hermitage is located on the Tongdosa Temple grounds in Yangsan, Gyeongsangnam-do in the southern foothills of Mt. Yeongchuksan (1,082.2 m). Seochukam Hermitage is one of nearly twenty hermitages on the Tongdosa Temple grounds; in fact, it’s just 150 metres away from neighbouring Jajangam Hermitage. The hermitage was first founded by the monk Wolha in 1996. In total, there are only a handful of buildings on the hermitage grounds.

Hermitage Layout

You first make your way up to the hermitage up a long, forested roadway, until you eventually come to the hermitage parking lot south of the walled-off grounds. To the right of the hermitage parking lot, you’ll find a plainly adorned entry gate. On either side of the entrance to the hermitage grounds are two storage areas. Passing through the beautiful gate, you’ll enter into the lush hermitage courtyard. Seochukam Hermitage has the feel of a Japanese temple instead of a Korean one. What makes me say this is that all of the buildings are purposely unadorned. The exterior walls to both the entry gate and the Daeung-jeon Hall are adorned in their natural wood finish and white along the walls.

Having entered the main hermitage courtyard, you’ll notice the administrative office to your left and the Yosachae (monks’ dorms) to your right. Between the entry gate and the Yosachae is a modern half-sized replica of Dabo-tap Pagoda from the famed Bulguksa Temple. This pagoda used to stand in front of the main hall, but it has been moved in more recent years to its present location. And out in front of this pagoda is a water fountain. Water pours forth from a stone turtle’s mouth, collects in pools of water with baby turtle statues and high-relief images of lotus flowers on it, and flows out into a lotus basin.

Straight ahead, on the other hand, and between the administrative office and the Yosachae, is the only shrine hall at Seochukam Hermitage. This is the Daeung-jeon Hall. Again, the exterior walls to the main hall are adorned in their natural wood finish and white walls. On either side of the entry to the Daeung-jeon Hall are two storage areas.

There is a wooden corridor out in front of the central entrance to the Daeung-jeon Hall. Stepping inside the main hall, your eyes will instantly be drawn to all the colour inside the Daeung-jeon Hall. Every inch of the interior is filled with stunning murals that include the Palsang-do (The Eight Scenes from the Buddha’s Life Murals), the Four Heavenly Kings, shaman deities, an all-white Gwanseeum-bosal (The Bodhisattva of Compassion), and a mural dedicated to the scene from the “Vision of the Bejeweled Stupa” from the Lotus Sutra. All of these paintings are masterful in their execution. As for the main altar, it houses a triad of statues set back in an enclosed area. The triad consists of a central image dedicated to Seokgamoni-bul (The Historical Buddha), who is joined on either side by Jijang-bosal (The Bodhisattva of the Afterlife) and Gwanseeum-bosal. The triad rests under a beautiful canopy with a manja image at its centre. On either side of the main altar are a collection of four panel paintings. These paintings consist of images dedicated to Jijang-bosal, Gwanseeum-bosal, Bohyeon-bosal (The Bodhisattva of Power), and Munsu-bosal (The Bodhisattva of Wisdom). The interior to the compact main hall is stunningly filled with beautiful Buddhist artwork that’s second-to-none.

How To Get There

From Busan, you’ll first need to get to the Nopo subway stop, which is stop #134. From there, go to the intercity bus terminal. From the intercity bus terminal get a bus bound for Tongdosa Temple. The ride should last about 25 minutes. The buses leave every 20 minutes from 6:30 a.m. to 9:00 p.m. From where the bus drops you off at the Tongdosa Temple bus stop, you’ll need to walk an additional 10 minutes to the temple grounds west of the bus stop.

From Tongdosa Temple, you’ll need to continue up the main road for another 700 metres until you come to a fork in the road. Instead of heading straight, turn right and continue heading in this direction for a couple of kilometres. There is a cluster of hermitages in this area. Find the sign that reads Seochukam Hermitage – 서축암 and continue heading in this direction until you arrive at the hermitage.

Overall Rating: 4/10

Seochukam Hermitage is both beautiful and tranquil in its simplicity and size. The hermitage buildings are equally beautiful in their simplicity, as well. However, stepping inside the Daeung-jeon Hall, this simplicity is disrupted by the overwhelming beauty that’s artistically present inside the main hall from the main altar statues to the numerous Buddhist themed murals. Seochukam Hermitage is beautiful in its contrasting elements found in both its architecture and its artwork.

Introduction

It’s rather interesting that you see so many fish at Korean Buddhist temples, especially since there is no direct connection between fish and Buddhism. Additionally, fish were never objects of worship in Buddhism, as well.

An argument has been made that the reason that fish exist at temples, whether it’s as a painting, a wind chime, or carp swimming around a temple pond, is that they are meant to remind practitioners to remain vigilant and focused on their practice. The reason for this belief is that it’s thought that fish never sleep. While this is one interpretation, there are several other interpretations concerning the fish you might see at Korean Buddhist temples.

The Mokeo and Moktak

The word “moktak,” which is referred to as “mouduo” in Chinese, is mentioned in the “Analects of Confucius” as a metaphor for Confucius himself. Originally, the “mouduo” referred to bells that were attached to the staff carried by monks. The term “mouduo” was used specifically for bells with wooden clappers, while bells with bronze clappers were referred to as “jinduo,” or metal bells.

It’s important to note that the “mouduo” and the “moktak” are different. While the “mouduo” contains clappers, the “moktak” only makes sounds when struck with an exterior wooden stick.

The Korean “moktak” originates from the “mokeo,” which is known as a “muyu” in Chinese. The “mokeo” is the third of four traditional percussion instruments housed inside the Jong-ru (Bell Pavilion) at a Korean Buddhist temple. The “mokeo” is a hollowed out log carved into the shape of a fish. In English, the “mokeo” is known as a “wooden fish drum.”

The design of the “mokeo” is meant to resemble a carp. There are a few reasons for this design. One is that a fish never closes its eyes. And much like the wind chime that adorns temple shrine halls, the sound of the drum is meant to remind practitioners to never relax in their self-cultivating practices. And the second reason that the “mokeo” is shaped like a carp is that a fish swims through water unimpeded. Furthermore, in the past, large bodies of water were seen as obstacles that kept people apart. So people used the ocean as a symbol for going to the Western Paradise because the water was hard to traverse. So instead of the sky, people looked to water.

As for the “moktak,” there are two types of fish-shaped wooden sounding instruments called “muyu” that are found in China. The first is similar to one of the four traditional Buddhist percussion instruments, while the second type is similar to the Korean “moktak.” Korean Buddhism adopted the latter and modified it into a “moktak.”

Traditionally, Chinese people didn’t sit on the floor, and their “muyu” was typically placed on a cushion and remained stationary. This design required no handle because there was no need to lift it during its use. However, following the Japanese invasion of Korea during the Imjin War (1592-98) in 1592, and the Qing invasion of Joseon in 1636, new architectural styles were produced in Korea, including the adoption of floor sitting.

Because of this new style of sitting, it necessitated the need for practitioners to repeatedly stand up and sit down, while also holding the wooden gong during Buddhist ceremonies. As a result, the fin portion of the fish-shaped percussion instrument was drilled to incorporate a strong handle for securing a grip to hold onto the instrument. It was at this time that the name of the wooden percussion instrument changed from that of a “mokeo” to that of a “moktak.” Thus, the wooden instrument changed from an outdoor instrument, to an indoor instrument in the form of the Chinese “muyu,” and then evolved into a “moktak” for greater convenience during Buddhist ceremonies. And what’s even more interesting about the “moktak” is that it’s exclusively used in Korea.

The Moktak (Wooden Hand Gong) Tale

The “moktak” is accompanied by a fascinating legend that can be seen as a mural on the walls of some temple shrine halls.

According to this tale, a novice monk was being lazy and ignored his teacher’s guidance; as a result, this novice monk was reborn as a giant fish. A seed fell on the fish’s back and grew into a large tree, causing the novice monk fish great pain. The fish appeared in the dream of its former teacher, pleading for a ritual to secure a more auspicious birth and freedom from the pain it was currently suffering through.

Touched by compassion for his student, the master monk performed the ritual as requested. As a result, the fish died and its body was washed ashore. The teacher removed the tree growing from the fish’s back and made a “moktak” to serve as a lesson to his students.

This tale was probably first made to help educate young monks about the importance of diligence and listening to one’s teachers.

Fish and Dragons

Dragons are an integral part of Chinese culture. What distinguishes Chinese dragons is their origin.

The image of the Chinese fish was first portrayed as a flying creature in Neolithic earthenware, which was discovered in areas connecting the Yellow River Valley Civilization. This unique depiction of flying fish eventually merged with the concept of the dragon, giving rise to the idea that fish could change into dragons.

This belief is especially true with fish that have barbels. According to a Chinese tradition, a carp that could swim upstream and then leap into the falls of the Yellow River at Longmen (Dragon Gate) would be transformed into a dragon. Longmen, or “Dragon Gate” in English, is located at the border of Shanxi and Shaanxi, where the Yellow River flows through a section of the Longmen mountains, which was made by Yu the Great, who cut through the mountains.

According to one version of this Chinese tale, forceful water brought several carp down the river, and the carp couldn’t swim back. The carp complained to Yu the Great. As a result, his wife, who was the Jade Emperor’s daughter, explained all of this to her father on behalf of the trapped carp. The Jade Emperor promised that if the carp could leap over the Dragon Gate, then they would become mighty dragons. So every year, all of the carp competed to see which one could leap over the Longmen Falls. And those that succeeded were immediately transformed into dragons and flew off into the sky.

As a result of the gorge being named Longmen, which literally means “dragon gate” in English, this gave rise to the phrase “entering the dragon gate,” which refers to a person making a difficult journey that one must overcome to achieve success.

Conclusion

In Buddhism, and over time, the fish has evolved symbolically. It has changed from a fish that could fly into a fish that turned into a dragon. Also, the evolution of the fish gong from a “mokeo,” into a Chinese “muyu,” and finally into a “moktak,” has seen the slow evolution of the imagery of the fish change through necessity, as well. The reason for this change, and through Chinese Buddhism, the fish is considered sacred. Not only does it remain sacred because of the belief that it never sleeps, but it also remains sacred and relevant because of the higher symbolic aspirations of achieving full awakening through spiritual growth.

Temple History

Bulgulsa Temple, which means “Buddha Cave Temple” in English, is located to the north of Mt. Muhaksan (588.4 m) in northern Gyeongsan, Gyeongsangbuk-do. Purportedly, Bulgulsa Temple was first constructed in 690 A.D. by the famed monk Wonhyo-daesa (617-686 A.D.). But this would be rather difficult, since Wonhyo-daesa died in 686 A.D. After its initial founding, very little is known about the temple’s history. However, it’s believed that at the height of its popularity, there were 50 buildings housed at the temple, as well as 12 hermitages directly associated with Bulgulsa Temple up until the mid-Joseon Dynasty (1392-1910).

In 1723, Bulgulsa Temple was reconstructed; however, it was largely damaged by a landslide caused by flooding in 1736. Eventually an older monk from Songgwangsa Temple in Suncheon, Jeollanam-do rebuilt the temple. And from 1860 to 1939, other parts of the temple were reconstructed, as well.

In 1988, the original site of the Daeung-jeon Hall was located and a sari from India of Seokgamoni-bul (The Historical Buddha) was enshrined at Bulgulsa Temple. This enclosure at Bulgulsa Temple is known as a Jeokmyeol-bogung, which means “Silent Nirvana Treasure Palace” in English.

In total, Bulgulsa Temple is home to one Korean Treasure, it’s the “Three-Story Stone Pagoda of Bulgulsa Temple,” which is Korean Treasure #429.

Temple Layout

As you first approach the elevated temple grounds from the temple parking lot, you’ll notice a simple Jong-ru Pavilion slightly protruding above the stone barrier wall. Up a set of uneven stairs, you’ll enter into the main temple courtyard. To your left is the simplistic Jong-ru Pavilion with a large bronze bell inside it. To your right, on the other hand, are the monks’ dorms and administrative office.

Straight ahead lays the main hall at Bulgulsa Temple. Out in front of the main hall is the “Three-Story Stone Pagoda of Bulgulsa Temple,” which is the only Korean Treasure at the temple. The pagoda is a three-story structure, which dates back to 690 A.D. The pagoda consists of a two-layered stylobate. The pagoda has a long and large stone foundation. The middle stone of the top layer of the stylobate is engraved with pillar patterns at its corners and at the centre of each side, as well. As for the body of the pagoda, both the core and roof stones are made from a single piece of stone. All of the corners of the core stones are engraved with pillar patterns, and the roof stones taper upwards at each end. In fact, these corners rise quite sharply. As for the finial, all that remains is the base which resembles an over-turned bowl. In total, the pagoda stands 7.43 metres in height; and overall, it’s quite well preserved.

Beyond this historic pagoda stands the main hall at Bulgulsa Temple. The main hall at Bulgulsa Temple is known a Jeokmyeol-bogung. The exterior walls to this hall are adorned with a nice collection of the Shimu-do (Ox-Herding Murals). Stepping inside the Jeokmyeol-bogung, you won’t find a triad resting on the main altar; instead, what you’ll find is a window (reminiscent of the Daeung-jeon Hall at Tongdosa Temple) that looks out on a stone enclosure with an intricate stupa at its centre. Housed inside this stone stupa are the sari from India of Seokgamoni-bul (The Historical Buddha). As for the rest of the interior of the main hall, you’ll find a Shinjung Taenghwa (Guardian Mural) on the far right wall, as well as seated statues of the Buddha with white paper hats on their heads.

To the right of the main hall is a diminutive Dokseong/Sanshin-gak Hall. Housed inside this hall are two rather plain shaman deity paintings of Dokseong (The Lonely Saint) and Sanshin (The Mountain Spirit). Also in this area is the Jijang-jeon Hall. This shrine hall is rather long and narrow, and it houses a solitary statue dedicated to Jijang-bosal (The Bodhisattva of the Afterlife). This main altar statue is joined by an assortment of paintings lining the interior walls of the shrine hall including paintings dedicated to Munsu-bosal (The Bodhisattva of Wisdom), Bohyeo-bosal (The Bodhisattva of Power), and Gwanseeum-bosal (The Bodhisattva of Compassion).

To the left of the main hall is a shrine hall that houses the ancient stone statue of the Buddha. Officially known as the “Standing Stone Buddha Statue of Bulgulsa Temple,” the stone statue is Gyeongsangbuk-do Property Material #401. In total, the statue stands 2.33 metres in height, but the date of its creation is unknown. The statue is placed on a natural ridge of rock. As for the statue itself, it has a chubby face, and it holds a jar in its left hand. However, it’s unknown if the jar was originally there because the left hand was so damaged that it was repaired. Also, the face underwent some repair, as well.

And to the left of this shrine hall is the Gwaneum-jeon Hall. Out in front of this newly built temple shrine hall is a beautiful pond lined with flowers. Stepping inside the Gwaneum-jeon Hall, you’ll find a large statue dedicated to Gwanseeum-bosal on the main altar. This image is lined by a fiery mandorla and backed by a beautiful, black mural also dedicated to the Bodhisattva of Compassion. And adorning the interior of the Gwaneum-jeon Hall are smaller statues of the Bodhisattva of Compassion housed inside their own tiny little enclosures.

Also of interest to some, and perched to the southwest of Bulgulsa Temple, is Hongjuam Hermitage. Unfortunately, I didn’t have the time to visit, but I’ll save that for a future visit. If you do have the time, however, I highly recommend a visit to the cliffside hermitage filled with images of Seokgamoni-bul, Dokseong, and Yaksayeorae-bul (The Medicine Buddha, and the Buddha of the Eastern Paradise). It’s a bit of a climb to the hermitage, so be prepared.

How To Get There

Because of its rather remote location, the only way to get to Bulgulsa Temple from the neighbouring city of Gyeongsan is by taxi. And to get to Bulgulsa Temple from the Gyeongsan Intercity Bus Terminal, it’ll take 45 minutes, over 26 km, and it’ll cost you around 38,000 won (one way).

Overall Rating: 6.5/10

There are quite a few highlights for visitors to enjoy at Bulgulsa Temple starting with the “Three-Story Stone Pagoda of Bulgulsa Temple” and continuing on towards the Jeokmyeol-bogung and the stone stupa that purportedly houses sari (crystalized remains) of the Buddha, Seokgamoni-bul. Additionally, the “Standing Stone Buddha Statue of Bulgulsa Temple” is quite impressive, as is the newly built Gwaneum-jeon Hall and the pond out in front of it. And if you have the time and energy, a hike up to Hongjuam Hermitage is well worth it, as well.