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Seongjuam Hermitage – 성주암 (Gyeongju)

The Rock-Carved Standing Buddha Triad in Yul-dong at Seongjuam Hermitage in Gyeongju.

Hermitage History

Seongjuam Hermitage is located on the eastern side of Mt. Byeokdosan (437.1 m) in central Gyeongju, Gyeongsangbuk-do. It’s hard to tell just how old the diminutive hermitage is; however, it’s one striking feature is the Rock-Carved Standing Buddha Triad in Yul-dong, which is Korean Treasure #122.

The Rock-Carved Standing Buddha Triad in Yul-dong appears to be from Unified Silla (668-935 A.D.). Stylistically, the Buddha triad that appears on the carving is similar to the one found at the Gulbulsa-ji Temple Site also in Gyeongju. The 8th century piece consists of a triad centred by Amita-bul (The Buddha of the Western Paradise). This central image 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 was very popular in the 8th century when it was first made. The central image of Amita-bul has a large, bald head. And at the top of its head, it almost appears to be wearing a hat. It has a plump face that’s adorned with a nice smile. As for its hands and its mudra (ritualized hand gesture), Amita-bul has his right hand held to his chest with the index and thumb placed together. As for the accompanying Bodhisattvas, the image of Gwanseeum-bosal appears to be quite feminine. It has a curvy figure with its feet spread to the side. Also, the mudra that Gwanseeum-bosal is making has her right hand held above the shoulders with its thumb and middle finger placed together. And the left hand is holding a treasure bottle. Daesaeji-bosal, on the other hand, is similar in appearance to Gwanseeum-bosal. All three statues have a round halo surrounding each of their heads.

Hermitage Layout

You first approach Seongjuam Hermitage up a set of rural roads that ends at a mountainside road. Standing in the remote hermitage parking lot, you’ll find the trailhead that leads up to the hermitage to the right of the parking lot retaining wall. Through a bend in the trail, and to the left and then right, you’ll see a sign that is the surest indication that you’re nearing Seongjuam Hermitage. The sign that you pass by on your way towards the hermitage describes the history behind the Rock-Carved Standing Buddha Triad in Yul-dong.

Up this mountain trail for another one hundred metres, you’ll finally come to the outskirts of the hermitage. Uniquely, the first hermitage structure to greet you at Seongjuam Hermitage is the Sanshin-gak Hall. The diminutive shaman shrine hall has a beautiful signboard above the entry. Stepping inside the Sanshin-gak Hall, you’ll find a beautiful image dedicated to Sanshin (The Mountain Spirit), who almost appears to be making a mudra with his left hand. Meanwhile, the accompanying tiger has the most psychedelic swirling eyes.

To the left of the Sanshin-gak Hall, and up a set of uneven stone stairs, is the hermitage’s two-in-one main hall. This L-shaped structure has the main hall to the right and the monk’s living quarters to the left. Inside this extremely small main hall are a pair of red paintings. The first to the left, and backing the main altar image of an all-white Gwanseeum-bosal, is the Yeongsan Hoesang-do (The Sermon on Vulture Peak Mural). And second, and to the right, is the Shinjung Taenghwa (Guardian Mural).

But it’s to the right rear of the L-shaped main hall that you’ll find the aforementioned Rock-Carved Standing Buddha Triad in Yul-dong. The carving is a beautiful reminder of Silla Buddhist artistry.

How To Get There

From the Yuldong Train Station in Gyeongju, you’ll need to exit the train station to the south. Along the way, you’ll find a sign that says “경주두대리마애석불입상” on it. These signs are leading you towards the famed Rock-Carved Standing Buddha Triad in Yul-dong at Seongjuam Hermitage. The trek from the train station to the hermitage is about one kilometre.

Overall Rating: 3.5/10

While smaller in size, the hermitage artwork around Seongjuam Hermitage like the main altar murals inside the main hall and the Mountain Spirit mural inside the Sanshin-gak Hall are beautiful, but it’s the Rock-Carved Standing Buddha Triad in Yul-dong that distinguishes this little known hermitage in Gyeongju.

The trail leading up to Seongjuam Hermitage.
The Sanshin-gak Hall at the hermitage.
The Sanshin-gak Hall signboard at Seongjuam Hermitage.
The Mountain Spirit mural inside the Sanshin-gak Hall.
The main hall at the hermitage.
A closer look at the L-shaped main hall/monk’s residence at Seongjuam Hermitage.
The central image of Amita-bul (The Buddha of the Western Paradise) of the The Rock-Carved Standing Buddha Triad in Yul-dong, which is Korean Treasure #122.

Saseongam Hermitage – 사성암 (Gurye, Jeollanam-do)

Saseongam Hermitage in Gurye, Jeollanam-do.

Hermitage History

Saseongam Hermitage is located in Gurye, Jeollanam-do near the peak of Mt. Osan (530 m). This mountain is also known as Mt. Jarasan, which means “Mt. Terrapin” in English, because it closely resembles the shape of a soft-shelled turtle. As a result, Saseongam Hermitage enjoys a beautiful view of the surrounding area that includes the city of Gurye, the Seomjingang River, and Mt. Jirisan (1915 m) off in the distance. Recently, and because of this view, “Saseongam Hermitage and Surroundings” was named as Scenic Site #111 in 2014.

It’s believed that Saseongam Hermitage was first built in 544 A.D. by the monk Yeongi-josa; however, there are no records to support this claim. In addtion, it should be noted that Yeongi-josa is said to have also first built neighbouring Hwaeomsa Temple in 544 A.D., Yeonguksa Temple in 543 A.D., and Munsusa Temple in 547 A.D. When Saseongam Hermitage was first built, it was named Osanam Hermitage, which came from the name of the mountain on which it was built. Throughout the hermitage’s long history, four of Korea’s most preeminent Buddhist monks stayed at the hermitage. These four monks include Wonhyo-daesa (617-686 A.D.), Uisang-daesa (625-702 A.D.), Doseon-guksa (827-898 A.D.), and Hyesim (1178-1234); as such, the name of the hermitage changed to Saseongam Hermitage, which means “Four Sages Hermitage” in English, to honour these four prominent Korean Buddhist monks.

The hermitage buildings at Saseongam Hermitage were reconstructed under the watchful eye of Hyesimin in the 13th century. It was later rebuilt in 1630. And more recently, the hermitage was reconstructed in 1939. This was furthered in the 1980s and 1990s, when Saseongam Hermitage was further renovated and repaired.

Hermitage Layout

You first make your way up to the hermitage grounds past a mountainside tea shop and around a steep bend in the road to the right. Eventually, you’ll come to the outskirts, where you’ll first see the monks dorms through the trees to your left. Continuing up the road, and looking back over your shoulder, you’ll notice the rolling mountains off in the distance and the Seomjingang River down below.

Next up are a pair of buildings to your left before entering the lower courtyard at Saseongam Hermitage. These two buildings are the administrative offices and kitchen area. Immediately overhead, and hovering over top of the entire lower courtyard, is the Yurigwang-jeon Hall (but more on this later). To the right of the administrative offices and kitchen, you’ll notice a row of stone guardian statues. These dozen statues are perched atop a ledge beneath the Yurigwang-jeon Hall. In front of these modern stone guardian statues is an equally modern stone relief dedicated to a triad centred by Amita-bul (The Buddha of the Western Paradise).

There are two stairways that lead to the upper courtyard at Saseongam Hermitage; however, there isn’t a pathway that connects the two areas in the upper courtyard. So to get to the Yurigwang-jeon Hall, which acts as the hermitage’s main hall, you’ll need to take the stone stairs to the right. When you do eventually get to the top of the stairs where the main hall is housed, you’ll get a commanding view of the beautiful mountains below and the river off in the distance. As for the Yurigwang-jeon Hall, it was constructed in 1997. The exterior walls are vibrantly painted in the traditional dancheong colours. Stepping inside the Yurigwang-jeon Hall, you’ll notice the “Rock-Carved Standing Buddha of Saseongam Hermitage,” which is Jeollanam-do Tangible Cultural Heritage #220. This carving is meant to depict an image of Yaksayeorae-bul (The Medicine Buddha, and the Buddha of the Eastern Paradise). According to legend, Wonhyo-daesa (617-686 A.D.) carved the image of Yaksayeorae-bul with his own fingernails while in a meditative trance. With that being said, what is more likely, and based upon the carving’s design, the carving was made during the 9th or 10th centuries. As for the carving design, it has a large bump on top of its head, which is meant to symbolize the wisdom of the Buddha. Additionally, the carving’s right hand is raised to its chest, while its left hand holds a medicine bowl. A fiery mandorla surrounds both the head and body of the carving. In total, the carving stands 3.9 metres in height.

Making your way back down the stairs, and now heading towards the western staircase to your left, you’ll notice the beautiful underside lotus flower paintings that adorn the Yurigwang-jeon Hall. Making your way up the western stone stairs, you’ll first come to the Nahan-jeon Hall, which is also known as the 53 Buddhas Hall. This Nahan-jeon Hall was first built during the late Joseon Dynasty (1392-1910). When you first enter this temple shrine hall, you’ll need to walk to the right before taking your shoes off. Looking to your left, you’ll find 53 images of the Buddha. These statues, like the Nahan-jeon Hall, are believed to date back to the late Joseon Dynasty. In total, there are 53 Buddhas that are meant to represent the long lineage of the Buddhas throughout the entirety of time that includes the Past Buddha (Yeondeung-bul), the Present Buddha (Seokgamoni-bul), and the Future Buddha (Mireuk-bul). While the temple originally had 53 of these statues, including a central golden image of Seokgamoni-bul, twenty of these statues went missing; so in 2020, the twenty missing statues were replaced with twenty new statues of the Buddha. And to your back, facing away from the main altar, there’s a window that has a stunning view of Gurye off in the distance.

To the left of the Nahan-jeon Hall, and ducking your head below the roof-outcropping from the Nahan-jeon Hall, you’ll make your way towards the Jijang-jeon Hall. The exterior walls to the Jijang-jeon Hall are vibrantly painted in dancheong colours with images of Buddhas up near the eaves, as well as the Siwang (The Ten Kings of the Underworld) adorning some of the exterior walls. Looking inside the Jijang-jeon Hall, you’ll find a green haired and golden capped image of Jijang-bosal (The Bodhisattva of the Afterlife).

Continuing up the trail to the left of the Jijang-jeon Hall, you’ll find a bronze plate that depicts Saseongam Hermitage, as well as a beautiful stone statue dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion). To the left of these two pieces of Buddhist artwork, you’ll find the Rock of Wishes. This rather non-descript flat rock is believed to grant wishes to those that stand in front of it and pray sincerely. The reason for this belief is that it surrounds a legend about a husband and a wife. According to this legend, there once was a loyal and dedicated wife who had a husband that went to the nearby village to sell rafts. His wife came to this rock to pray for her husband’s safe return; however, the long wait exhausted the wife; so much so, that the wait killed her. When the man finally did return, he found his wife dead. In turn, he, too, died from his grief. I’m not sure how this is related to good luck because it sounds like an extremely unlucky story; but either way, the rock is meant to be lucky.

Around the bend, and next to the Rock of Wishes, you’ll find the Sanwang-jeon Hall nestled between two rocky walls. Formerly, there was a painting housed inside this shaman shrine hall dedicated to Sanshin (The Mountain Spirit). But sometime over the past ten years, the mural was replaced by an intricate wooden relief dedicated to the Mountain Spirit. The shaman deity is joined to the right by a fierce tiger and to the left by three dongja (attendants).

After visiting the Sanwang-jeon Hall, there are two ways you can make your way around the rest of Mt. Osan and Saseongam Hermitage. If you decide to backtrack a bit and head to the left, you’ll get amazing views of the city of Gurye down below, the golden farmers’ fields, and Mt. Jirisan off in the distance. However, if you instead decide to head right and enter a tiny little crack in the mountain wall, you’ll find yourself in the midst of Doseon-gul Cave. The Doseon-gul Cave, which is actually more of a passageway between two large boulders than it is a cave, is said to have once been a place where Wonhyo-daesa came to meditate. And then two hundred years later, it’s believed to have been a place where Doseon-guksa lived for a short period of time while contemplating the theory of Pungsu-jiri; for which, Doseon-guksa is renowned. And midway through the Doseon-gul Cave, you’ll find an elevated metal shrine with numerous candles burning on it.

How To Get There

The easiest and simplest way to get to Samseongam Hermitage is to take a taxi from the Gurye Intercity Bus Terminal. The ride will take about 14 minutes, over 7.7 km, and it’ll bring you right up to the hermitage. The taxi ride will cost you about 15,000 won (one way). And if traveling in a group, this might be the most economical, as well.

Overall Rating: 9/10

Saseongam Hermitage is one of those hermitage (or temples for that matter) that grabs your attention and sets you adrift with its amazing views. Outside its amazing views that have over a 180 degree panoramic view of the area, it has the stunning Yurigwang-jeon Hall that rests upon three large pillars. The main hall at Saseongam Hermitage almost looks partially suspended midair. In addition to these two amazing features, you can also enjoy the view from inside the Nahan-jeon Hall, as well as the artwork inside the Jijang-jeon Hall, the Nahan-jeon Hall and the Sanwang-jeon Hall. There’s also the natural features of the Doseon-gul Cave and the Rock of Wishes, as well. Saseongam Hermitage is a beautiful blend of natural beauty and Buddhist artistry and architecture and shouldn’t be overshadowed by the neighbouring temples and hermitages in the Jirisan region.

The suspended Yurigwang-jeon Hall as you first enter the lower courtyard at Saseongam Hermitage.
A look towards the left part of the lower courtyard at the hermitage with the administration office and Nahan-jeon Hall overhead.
A look up at the suspended Yurigwang-jeon Hall and a dozen stone guardian statues below it.
The view that the stone guardians get to enjoy.
As you near the Yurigwang-jeon Hall from the side-winding set of stairs.
The view from the main hall.
The “Rock-Carved Standing Buddha of Saseongam Hermitage” inside the Yurigwang-jeon Hall.
A look up at the Nahan-jeon Hall from the set of stone stairs to the left of the main hall.
A look inside the Nahan-jeon Hall at the main altar.
A look up at the Jijang-jeon Hall to the left of the Nahan-jeon Hall.
The main altar inside the Jijang-jeon Hall.
A modern stone statue dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion) next to the Rock of Wishes (left).
The Sanwang-jeon Hall with a wood relief dedicated to Sanshin (The Mountain Spirit) inside it.
A realistic image of a tiger that adorns the left exterior wall of the Sanwang-jeon Hall.
A look through the Doseon-gul Cave.
And one final look up at the gravity-defying Yurigwang-jeon Hall.

Learn Korean Ep. 129: ~군, ~구나, ~구먼 “Oh my!”

Keykat says she suddenly wants to change her hair style, but I don't know why. Oh well....

I wanted to make a lesson about ~군, and this video covers 군(요), 구나, 구먼, and 구만 - all of the most common ones. Also the PDF version (below) covers additional ones including ~더군 and more.

Also make sure to get your free PDF version of this lesson (and every lesson in the "Learn Korean" series) by clicking the download link right below this video~!

Click here to download a free PDF of this lesson!

The post Learn Korean Ep. 129: ~군, ~구나, ~구먼 “Oh my!” appeared first on Learn Korean with GO! Billy Korean.

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Living History – Steve Moore (Peace Corps – 1967)

Steve Moore in front of a Statue of Gwanseeum-bosal (The Bodhisattva Compassion) at Sudeoksa Temple near Mangong’s (1871-1946) Hut in 1968. (Picture Courtesy of Steve Moore).

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 originally from the Pacific Northwest, raised and educated in Oregon and Washington. I have a BA in history from the University of Oregon and an MA in East Asian Studies from the University of Washington. I worked for two years after college as a middle school English teacher in Korea with the Peace Corps, followed by four years as a social studies/Korean Culture teacher at DODDS schools in Seoul and Yokohama/Yokosuka.

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

I first came to Korea in June, 1967 as a Peace Corps volunteer. After 6-weeks training at Yonsei University, I was assigned as an English teacher at a rural middle school.

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

I lived in the rural farming community of Yesan, Chungcheongnam-do. After one year, I transferred to the city of Cheonan, also in Chungcheongnam-do.

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

During my 6-weeks training at Yonsei, I and a fellow trainee visited Sudeoksa Temple. Coincidentally, I was later assigned to Yesan, which was just a few miles from that temple.

Sudeoksa Temple during Buddha’s Birthday celebrations in 1967. (Picture courtesy of Steve Moore).

5. What drew your interest to Korean Buddhist temples?

As an historian, I was drawn by the history and secondarily by Buddhism, a religion about which I knew next to nothing. I was also interested in the art and architecture of the temples.

6. What is your favourite temple? Why?

Hard to choose since I’ve visited so many over the years, but I guess it would be Bulguksa Temple and Seokguram Grotto; the latter being unique among the temples I’ve visited. One can’t help but be impressed by the scale of Bulguksa Temple and its magnificent façade.

Yesan Middle School staff at Bulguksa Temple in 1967. (Picture courtesy of Steve Moore).
Yesan Middle School students with Steve Moore at Bulguksa Temple in front of the Daeung-jeon Hall in 1967, as well. (Picture courtesy of Steve Moore).

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

Tough question as nearly all Korean temples have undergone major restoration in the past six decades.  Perhaps Haeinsa Temple has changed the most. In the 60’s and 70’s, despite its historic and cultural significance, it was remote and rather difficult to get to. Becoming part of a national park, it is now easily accessed and thoroughly made visitor friendly, with all of the secondary buildings restored and in some cases rebuilt. A close second might be Jeondeungsa Temple on Ganghwa Island, which was almost as remote as Haeinsa Temple. I visited the temple last fall and found it totally transformed and almost completely unrecognizable. By the way, not only has the government invested a lot in these temples, but Buddhists are now quite rich (and politically influential).

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

Haeinsa Temple and Seokguram Grotto. The former accessed by bus up a narrow and sometimes steep dirt road. Seokguram Grotto, on the other hand, required a hike up a direct road at dawn to see (or not) the sunrise on the East Sea.

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

I stayed in Korea 1967-71 and then returned numerous times over the years, including an assignment in the Foreign Service to the US Embassy in Seoul (1994-97).

Steve Moore in Korea during his time in the country from 1967-71. (Picture courtesy of Steve Moore).

Deokjusa Temple – 덕주사 (Jecheon, Chungcheongbuk-do)

The Bell Pavilion and Mt. Woraksan at Deokjusa Temple in Jecheon, Chungcheongbuk-do.

Temple History

Deokjusa Temple is located in Jecheon, Chungcheongbuk-do in the southern foothills of Mt. Woraksan (1,095.3 m) up a long valley. According to legend, Deokjusa Temple was first built in 587 A.D. Additionally, and also according to this legend, Princess Deokju, who was a Silla princess, and one of the children of King Gyeongsun of Silla (r. 927-935 A.D.), built the temple. King Gyeongsun of Silla was the final ruler of the Silla Kingdom (57 B.C. – 935 A.D.). King Gyeongsun of Silla was placed on the thrown by Gyeon Hwon (892-934 A.D.), who was the founder of Later Baekje (892–936). When Gyeon Hwon’s army sacked Gyeongju in 927 A.D., they found King Gyeongae of Silla (r. 924-927 A.D.) having a party at Poseokjeong Pavilion. Rather than surrender, the king killed himself. It was only then that Gyeon Hwon placed King Gyeongsun of Silla on the throne in place of the former Silla king. Because of its already weakened state, King Gyeongsun of Silla reigned over a tiny portion of the former Silla lands, until he eventually abdicated his throne in favour of King Taejo of Goryeo in 935 A.D.

Disappointed and devastated by his father’s actions, Crown Prince Maui and his sister Princess Deokju fled to the southern mountains of Jeollanam-do. From here, they would attempt to make their way up to Mt. Geumgangsan to hide. Along the way, Crown Prince Maui, Princess Deokju, and their party came to the present location of where Deokjusa Temple is located on Mt. Woraksan. It was here that they could see the Big Dipper. Finding that the energy of Mt. Woraksan was similar to that of Mt. Geumgangsan, they decided to make the “Rock-Carved Standing Buddha of Deokjusa Temple.” This carving was made to face the “Stone Standing Buddha in Mireuk-ri,” which was purportedly made by Crown Prince Maui. The two are some six kilometres from the other. While the “Rock-Carved Standing Buddha of Deokjusa Temple” faces to the south, the “Stone Standing Buddha in Mireuk-ri” faces the north. It’s said that Princess Deokju spent the rest of her life missing her brother, Crown Prince Maui, who died poor on Mt. Geumgangsan.

Based upon the stone pagoda at the original Deokjusa Temple site, as well as roof tiles that were discovered in the same area, both date back to around the early Goryeo Dynasty (918-1392). As a result, and based upon this evidence, it’s believed that Deokjusa Temple was actually first founded at this time. Another thing to support this claim are the historical records about Deokjusa Temple. According to these records, the first hall at Deokjusa Temple was built by the monk Gwano (1096-1158). It’s also believed that Deokjusa Temple had a connection to the royal family during the early Goryeo Dynasty, as well.

As early as the Goryeo Dynasty, but definitely by the Joseon Dynasty (1392-1910), the temple was divided into an upper and lower temple that were known as Sangdeokjusa Temple and Hadeokjusa Temple. Additionaly, and based upon historical records, the temple was situated in a strategic location that helped defend and supply the region, as well.

Deokjusa Temple was completely destroyed during the Korean War (1950-53). In 1963, the temple was rebuilt in its current configuration and location to the south of the original temple site by about 1.7 km. Later, and in 1970, the temple was expanded. The “Standing Stone Yaksa Buddha Statue,” which had formerly been located in a different part of Jecheon was relocated and enshrined in the current Yaksa-jeon Hall at Deokjusa Temple. Then in 1998, the Daeungbo-jeon Hall was built. Sadly, part of the temple, once more, was destroyed by fire in 2009. The temple was restored in 2011.

Deokjusa Temple is home to a single Korean Treasure, which is located in the original temple site some 1.7 km from the current temple’s location. This Korean Treasure, which is Korean Treasure #406, is “Rock-carved Standing Buddha of Deokjusa Temple.”

Temple Layout

You first make your way up the long Deokju Valley on your way to the temple. Eventually you’ll come to the temple parking lot, which is located just out in front of the entry to Woraksan National Park. To the left, and then to the right, you’ll make your way up a side-winding road.

The first thing to greet you on the temple grounds is the “Monument with Sanskrit Inscription in Songgye-ri, Jecheon,” which is housed inside a wooden pavilion. This monument is presumed to have been made during the Goryeo Dynasty (918-1392). The large flat stone is inscribed with Sanskrit. Rather interestingly, it’s the only historic monument written in Sanskrit in Korea. The monument is now largely faded. The monument was discovered in 1988 during some road repair work near Songgye Valley. It was subsequently moved to Deokjusa Temple. The Sanskrit inscription is the text from the Surangama Sutra (The Sutra of the Heroic One), or “Daebuljeongsuneungeomgyeong – 대불정수능엄경” or simply “Neungeomgyeong – 능엄경” in Korean. In total, there are 105 Sanskrit letters on the monument. “Monument with Sanskrit Inscription in Songgye-ri, Jecheon” is Chungcheongbuk-do Tangible Cultural Heritage #231.

To the left of the “Monument with Sanskrit Inscription in Songgye-ri, Jecheon” wooden pavilion is a rather atypical open pavilion dedicated to Sanshin (The Mountain Spirit). This slightly elevated open wooden pavilion is the temple’s Sanshin-gak Hall. Like the Sanshin-gak Hall itself, the image inside this pavilion is rather atypical, as well. The stone relief of Sanshin is wedged between two large mountain rocks.

To the right of both of these structures is the Daeungbo-jeon Hall. The exterior walls to the main hall are adorned with a variety of murals that include the Shimu-do (Ox-Herding Murals), the Palsang-do (The Eight Scenes from the Buddha’s Life), Wonhyo-daesa and Uisang-daesa, and Bohyeon-bosal (The Bodhisattva of Power). Stepping inside the Daeungbo-jeon Hall, you’ll find a large triad of statues on the main altar. In the centre rests Birojana-bul (The Buddha of Cosmic Energy). This central image is joined on either side by Seokgamoni-bul (The Historical Buddha) and Nosana-bul (The Perfect Body Buddha). Also housed inside the main hall is a Shinjung Taenghwa (Guardian Mural).

Directly in front of the Daeungbo-jeon Hall is the Jong-ru Pavilion that houses a solitary bronze bell. It’s not too large or small, but it seems to perfectly fit the wooden pavilion that it’s housed in. And to the left of the Daeungbo-jeon Hall is a baby Buddha statue, as well as a deck that looks out on the neighbouring mountains.

Beyond the Jong-ru Pavilion, and down a pathway, you’ll find a second temple courtyard. Between the first and second temple courtyard, and looking down, you’ll notice a modern stone statue dedicated to Yaksayeorae-bul (The Medicine Buddha). The first of the two structures in the second temple courtyard is a wooden pavilion that houses the “Stone Standing Bhaisajyaguru Buddha of Deokjusa Temple,” which is Chungcheongbuk-do Tangible Cultural Heritage #196. This statue is presumed to have first been made during the Goryeo Dynasty. The statue of Yaksayeorae-bul holds a medicine bowl in its left hand. The statue was originally discovered at the Jeonggeumsa-ji Temple Site. The head of the Buddha is disproportionately larger than the rest of its body. And the folds on the Buddha’s robe are softly carved. Overall, except for the lower part of the statue, it’s been well-preserved.

To the right of this pavilion is the Gwaneum-jeon Hall. The exterior walls are adorned with murals dedicated to the Bodhidharma, the moktak tale, and other various Buddhist themed murals. Stepping inside the Gwaneum-jeon Hall, you’ll find an image of Gwanseeum-bosal (The Bodhisattva of Compassion) on the main altar joined by two statues of female lions.

Finally, and 1.7 km away and up a hiking trail, is the “Rock-Carved Standing Buddha of Deokjusa Temple.” The large statue, which is carved on the southern part of a granite wall, stands 13 metres in height. The face is carved so as to stick out from the rock face, while the body is carved in simple lines. The relief has a chubby face with elongated eyes, a large nose, and a hanging chin. This exaggerated design is common of large Buddha statues and reliefs from the Goryeo Dynasty. This relief was made during the early Goryeo Dynasty, possibly as early as the eleventh century. This is the only Korean Treasure at Deokjusa Temple.

How To Get There

From the Jecheon Intercity Bus Terminal, you’ll need to take Bus #982 or Bus #980. After 81 stops, yes 81 stops, or one hour and forty minutes, you’ll need to get off at the “Deokju-gol – 덕주골” bus stop. From where the bus drops you off, you’ll need to walk about 20 minutes, or 1.3 km, to get to Deokjusa Temple.

Overall Rating: 7/10

Deokjusa Temple is beautifully located on Mt. Woraksan. In addition to all of this natural beauty, have a look inside the three wooden pavilions at Deojusa Temple. They house a beautiful Goryeo-era statue of Yaksayeorae-bul, the only historical monument with Sanskrit writing on it, as well as the rather atypical Sanshin-gak Hall. The artwork inside the Daeungbo-jeon Hall is beautiful, as is the artwork that adorns both the exterior of the main hall and the Gwaneum-jeon Hall. But the main highlight to Deokjusa Temple is the mountainside “Rock-Carved Standing Buddha of Deokjusa Temple” that’s located some 1.7 km from the modern location of the temple; however, it’s well worth the hike.

Mt. Woraksan off in the distance.
The wooden pavilion that houses the “Monument with Sanskrit Inscription in Songgye-ri, Jecheon.”
A look at the “Monument with Sanskrit Inscription in Songgye-ri, Jecheon.”
The Sanshin-gak Hall at Deokjusa Temple.
The stone relief dedicated to Sanshin (The Mountain Spirit).
The Daeungbo-jeon Hall at Deokjusa Temple.
One of the Palsang-do murals that adorns the main hall.
The bronze bell inside the Jong-ru Pavilion.
The baby Buddha with Mt. Woraksan in the background.
The “Stone Standing Bhaisajyaguru Buddha of Deokjusa Temple.”
The Gwaneum-jeon Hall (left).
The Bodhidharma painting that adorns the Gwaneum-jeon Hall.
The main altar inside the Gwaneum-jeon Hall.
The “Rock-Carved Standing Buddha of Deokjusa Temple.” (Picture courtesy of CHA).

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.

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.

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