Koreabridge
Jangnaksa Temple – 장락사 (Jecheon, Chungcheongbuk-do)
Jangnaksa Temple is located in the eastern part of Jecheon, Chungcheongbuk-do in the western foothills of Mt. Wangbaksan (597.5 m). Jangnaksa Temple was first built during the Three Kingdoms of Korea Period (18 B.C. – 660 A.D.). In total, Jangnaksa Temple was rebuilt a total of five times, and it was a prosperous temple during the Goryeo Dynasty (918-1392). The temple remained as a fully functioning temple until the mid-Joseon Dynasty (1392-1910). The temple would eventually fall into disrepair in the 17th century.
For the longest time, all that remained of the temple was the “Seven-Story Stone Brick Pagoda in Jangnak-dong,” which is Korean Treasure #459. It isn’t until 1971 that the monk Noh Seung Beophae rebuilt the temple in order to protect the brick pagoda, while also continuing the tradition of the former temple. The current configuration of Jangnaksa Temple is much smaller than the original temple found at the Jangnaksa-ji Temple Site; to which, the current temple is located just to the east.
An excavation was conducted on the Jangnaksa-ji Temple Site from 2003 to 2008. This excavation revealed many artifacts including roof tiles, earthenware, pottery, clay molds, tombstones, and bronze spoons. In total, there were 34 buildings discovered on the temple site.
Temple LayoutAs you first approach Jangnaksa Temple up a pathway to the south of the Jangnaksa-ji Temple Site, you’ll first find the “Seven-Story Stone Brick Pagoda in Jangnak-dong.” For the longest time, this is all that remained of the ancient temple. The pagoda is a rare historic brick pagoda that’s one of only about a dozen still in existence in Korea. The pagoda is made of grayish black clay-slate stone that was made into bricks. The very first layer of the stylobate is made from natural stone. And it’s on top of this stone that the seven-story main pagoda of the structure stands. The base has granite pillars on each of the four corners with bricks filling in the caps between these granite pillars. Traditionally, there’s a door fitted inside a niche on both the south and north sides of a brick pagoda. However, the “Seven-Story Stone Brick Pagoda in Jangnak-dong” only has a south side door. The north door, for whatever reason, has long since disappeared. Both the south and east sides of the first story of the structure are heavily damaged. The roof stones covering the centre body stones of the main body are made completely of bricks. The eaves of the roof stones are short and horizontal. And the four edges to these roof stones have holes in them that formerly allowed bells to hang from them. Of the upper portion of the brick pagoda, only the base of the finial still remains.
During restoration work conducted in 1967, a bronze piece engraved with a flower pattern was found on the upper part of the roof stone of the seventh story. It’s assumed to have once been a part of the pagoda’s former finial. Additionally, there are traces of the surface of the pagoda having been plastered in parts. Currently, the “Seven-Story Stone Brick Pagoda in Jangnak-dong” is being restored, once more.
To the north of the this pagoda is the temple site grounds; while to the east, you’ll find the newest iteration of Jangnaksa Temple. In total, there are only a couple of shrine halls that visitors can explore. To the far left are the monks’ dorms, while straight ahead of you is the main hall at Jangnaksa Temple. This is the Geukrak-jeon Hall. The exterior walls of the main hall are adorned with realistic images of the Shimu-do (The Ox-Herding Murals), as well as flowers and Bicheon (Flying Heavenly Deities). Between the monks’ dorms and the Geukrak-jeon Hall, and to the rear, you’ll find an outdoor shrine dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion). This three metre tall stone statue dedicated to Gwanseeum-bosal is quite elegant in appearance.
Stepping inside the Geukrak-jeon Hall, you’ll find a triad of images on the main altar. In the centre sits Amita-bul (The Buddha of the Western Paradise), who is joined on either side by Gwanseeum-bosal and Jijang-bosal (The Bodhisattva of the Afterlife). The triad rests under a large, red canopy. And joining this main altar triad inside the main hall is a modern Shinjung Taenghwa (Guardian Mural) hanging on the far right wall.
To the right of the Geukrak-jeon Hall is the other temple shrine hall at Jangnaksa Temple. This is the Gwaneum-jeon Hall. The exterior walls have yet to be painted to this newly built shrine hall. Stepping inside the Gwaneum-jeon Hall, you’ll find a solitary image dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion) on the main altar. And between the Geukrak-jeon Hall and the Gwaneum-jeon Hall is another outdoor shrine dedicated to Gwanseeum-bosal. This one is slightly overgrown with a standing image of the Bodhisattva of Compassion holding a vase with a lotus flower in it. And on either side of the statue are two slender seokdeung (stone lanterns).
How To Get ThereYou can simply take a taxi from the Jecheon Bus Terminal to get to Jangnaksa Temple and the “Seven-Story Stone Brick Pagoda in Jangnak-dong.” The taxi ride will take 8 minutes, or 2.6 km, and it’ll cost you 4,600 won (one way). Or if you’re feeling more adventurous, you can simply walk.
Overall Rating: 3/10Jangnaksa Temple definitely isn’t the most impressive temple that you’ll visit in Korea; however, with the “Seven-Story Stone Brick Pagoda in Jangnak-dong” standing out in front of the temple grounds, as well as the Jangnaksa-ji Temple Site next to it, all three can make for quite a nice little adventure in Jecheon, Chungcheongbuk-do. The main highlights to Jangnaksa Temple are the realistic and highly original Shimu-do (Ox-Herding Murals) that adorn the exterior of the Geukrak-jeon Hall, as well as the pair of outdoor Gwanseeum-bosal statues on either side of the main hall.
Jangnaksa Temple as you first approach it. The Geukrak-jeon Hall at the temple. One of the outdoor shrines dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion) to the left of the Geukrak-jeon Hall. One of the Shimu-do (Ox-Herding Murals) that adorns the exterior of the Geukrak-jeon Hall. This is the second mural entitled “Seeing the Tracks.” Here is the eighth mural from the Shimu-do (The Ox-Herding Murals). This painting is entitled “Both the Ox and the Ox-Herder are Transcended (or Forgotten).” And here is the tenth mural from the Shimu-do (The Ox-Herding Murals). This painting is entitled “In the World (or Return to Society).” What’s interesting about this mural is the white figure on the left who appears to be Sanshin-dosa (The Mountain Passes Spirit). A beautiful lotus flower painting that adorns the Geukrak-jeon Hall. And a Gongmyeongjo (Jivamjivaka) painting that also adorns the main hall. The main altar inside the Geukrak-jeon Hall. The modern Shinjung Taenghwa (Guardian Mural) also housed inside the main hall. The view from the Geukrak-jeon Hall out towards the “Seven-Story Stone Brick Pagoda in Jangnak-dong” and the city of Jecheon. The outdoor shrine dedicated to Gwanseeum-bosal located between the Geukrak-jeon Hall and the Gwaneum-jeon Hall. The Gwaneum-jeon Hall. And the main altar inside the Gwaneum-jeon Hall.—Dale's Korean Temple Adventures YouTube
Books By Andrew Lawrence Crown
Here is the Amazon link for three books, which took me about ten years to write, and all of which I published in 2023. My two short story collections would make great additions to your 2024 reading list. The titles are, Adoration of the Korean: Expatriate Tales Made in Korea, and For the Love of Time: Tales From Home and Abroad. Fiction, quasi-fiction, and creative non-fiction are all intertwined in these stories inspired by both life in my hometown of Chicago and its suburbs, and my experiences living overseas for fourteen years. There is also a book of essays of political theory and literary criticism written in the distinctive tradition of writing I acquired during my graduate studies at The University of Chicago. The title is, Theory and Criticism in the Chicago Tradition: Ten Essays Composed Abroad. Follow the link to my Amazon page to find out more about these books and to purchase one, two or all three of them. Best of luck to you and thank you for reading.
https://www.amazon.com/author/andrewlawrencecrown
princess.jpgHow He Became an International Student in Korea
For those of you who are interested in becoming an international student in Korea, I met up with Forrest and we talked about his experience as a student in a Korean university (Sogang University). He also shared tips for how he became an international student in Korea, as well as what are the steps to becoming a student, and how everything has been going. Special thanks to Forrest for being interviewed and sharing his experiences.
The post How He Became an International Student in Korea appeared first on Learn Korean with GO! Billy Korean.
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Yeonggot – The Lotus Flower: 연꽃
In Korean Buddhism, and Buddhism more broadly, the lotus flower is arguably the most popular symbol used. In Korean Buddhism, it can appear almost anywhere including in paintings, latticework, altars, nimbus, mandorla, statues, bells and pedestals.
In general, the lotus flower is associated with faithfulness, spiritual awakening, and purity. Additionally, the lotus flower is also known to symbolize purity of speech, body, and of the mind. The reason for this is that the lotus flower emerges from the muddy and murky water perfectly clean. This symbolism is manifested in the purity of the enlightened mind rising above the muddy midst of the suffering of Samsara.
The different colours of the lotus flower have different meanings. The white lotus flower symbolizes mental purity and spiritual perfection. The red lotus flower represents compassion. The blue lotus flower symbolizes wisdom and intelligence; and thus, it’s typically the colour of the lotus flower that Munsu-bosal (The Bodhisattva of Wisdom) holds. Also, the blue lotus flower is typically depicted as being partially opened. And finally, the gold/yellow lotus flower represents the completion of enlightenment.
A blue lotus flower painting at Haegwangsa Temple in Gijang-gun, Busan. A whitish-pink lotus flower painting from Naewonsa Temple in Yangsan, Gyeongsangnam-do.In addition to all of this symbolic meaning, the lotus flower has a bit of a paradoxical existence in Korean Buddhism. While it is venerated as a symbol of Korean Buddhism, it is also used in daily life, as well. Seeds are used for cooking rice, leaves to brew tea, lotus roots to cook, and the fibers are made to use thread. Thus, a lotus flower has a dual purpose: that of symbolism and that of a practical purpose.
Another interesting fact about the lotus flower outside this dual purpose is in Korean society, in general. In Korea, nearly all ponds are referred to as “yeonmot – 연못” in Korean, which literally means “lotus pond” in English. It’s yet another example of just of pervasive Buddhist language is in Korean.
A painting from inside the Ajanta Caves in India with Padmasambhava holding a lotus flower. (Picture courtesy of here). The Lotus Flower and IndiaBut before the lotus flower came to symbolize what it does in Korean Buddhism, and in Buddhism more generally, it’s important to take a look at its origins. And for the lotus flower, its origins start in India.
In Buddhist history, the lotus flower made its first appearance when the Hindu deity Brahma visited the Buddha, Seokgamoni-bul (The Historical Buddha) shortly after his enlightenment. At first, the Buddha, Seokgamoni-bul, decided to keep his enlightenment a secret and not share it with any other living beings. However, Brahma urged the Buddha to reconsider, explaining his viewpoint through the usage of the lotus flower as a metaphor.
The metaphor that Brahma would employ when using the lotus flower was to categorize beings into three distinct groups. The first of these groups consists of lotus flowers submerged underwater and seen as beyond redemption. The second symbolic category has the lotus flower growing towards the water’s surface and struggling to break through. This, in effect, represents beings in need of the Buddha’s teachings. And finally, the third group features the lotus flower soaring high above the murky water and into the open air. This symbolizes beings as fully self-sufficient and not requiring salvation having gained enlightenment. While this metaphor might have a bit of a controversy attached to it because of its potential support of the theory of three inherent natures, it also highlights the central significance that the lotus flower plays in Buddhism.
Another interesting feature in Buddhism is that the Buddha, Seokgamoni-bul, never explicitly describes the lotus flower as a noble symbol of spiritual growth in any of the sutras. Instead, the closest we get is the connection to the Lotus Sutra.
Thus, the very transformation of the lotus flower symbol to represent original purity can be attributed to the influence of Indian culture.
The Lotus Flower and ChinaWhat’s interesting about the symbolic origins in India is that it didn’t seem to be transferred over to other nations as Buddhism migrated eastward. Instead, it was the Chinese that elevated and appreciated the lotus flower’s ability to remain clean in its muddy surroundings. Indians, on the other hand, considered it commonplace.
Zhou Dunyi (1017-1073). (Picture courtesy of Wikipedia).In fact, it’s Zhou Dunyi (1017-1073) who is credited with elevating the lotus flower to a revered position in China. His teachings would greatly influence Cheng Hao (1032-1085) and Cheng Yi (1033-1107) both of whom were central to shaping Neo-Confucian thought. Along with Cheng Hao and Cheng Yi, Zhou Dunyi also worked with Shao Yong (1011-1077) and Zhang Zai (1020-1077). All would work towards integrating Confucian philosophy with Buddhist thought. This group of scholars would become known as the “Five Great Masters of the Northern Song Dynasty.”
Of all their work, it’s the “Ai Lian Shuo,” or “On Loving the Lotus Flower” in English, that’s the most celebrated and connected to the lotus flower. The text presents the lotus flower as a symbol to help portray the ideal character of a Confucian scholar, elevating it to a position above Tao Yuanming’s (365-427 A.D) chrysanthemum or the Tang Dynasty’s (618–690, 705–907 A.D.) reverence for the peony. In his depiction, Zhou Dunyi emphasizes the lotus flower emerging from murky waters, yet remaining pure, and its fragrant scent spreading far and wide.
Part of the ceiling from the Daegwangbo-jeon Hall at Magoksa Temple in Gongju, Chungcheongnam-do. You can see white cranes, peonies, and lotus flowers. The Daegwangbo-jeon Hall is Korean Treasure #801. ConclusionThe high regard for the symbolic value of the lotus flower traveled eastward towards the Korean Peninsula. Like so much of Chinese Buddhism that migrated eastward, Korean Buddhism would absorb, incorporate, and then make it artistically and/or doctrinally its own. Such is the case with the lotus flower and all of its various manifestations at Korean Buddhist temples, whether it’s in a painting, a statue, or latticework. They are both stunning and profound in their graceful beauty. So the next time you’re at a Korean Buddhist temple look around at all that the temple has to offer artistically, and you might just be surprised when you spot a lotus flower.
The “Stone Lotus Basin of Beopjusa Temple” at Beopjusa Temple in Boeun, Chungcheongbuk-do, which is National Treasure #64. The “Flagpole Supports with Lotus Design at Bomunsa Temple Site” in Gyeongju, which is Korean Treasure #910. The lotus altar seats underneath the “Seated Amitabha Buddha Triad of Muwisa Temple” in Gangjin, Jeollanam-do. The triad is Korean Treasure #1312. The lotus flower stairs leading up to the Daeung-jeon Hall at Tongdosa Temple in Yangsan, Gyeongsangnam-do. They are symbolically lifting the main hall above the mire of the everyday world. Part of the altar inside the Daeung-jeon Hall at Hwanseongsa Temple in Gyeongsan, Gyeongsangbuk-do. Above the Gareungbinga (Kalavinka) are two lotus flowers. The Daeung-jeon Hall is Korean Treasure #562. The “Sacred Bell of Great King Seongdeok” that’s located at the Gyeongju National Museum. The historic bell is National Treasure #29.—Dale's Korean Temple Adventures YouTube
모습 Appearance | Live Class Abridged
Sunday during my recent live stream I talked about the word 모습. This word means "appearance," "figure," "form," or "image." It's used as a noun (since it is a noun), but it's also used together with verbs (such as action verbs). The full live stream was over two hours, but you can learn about it in just six minutes.
The post 모습 Appearance | Live Class Abridged appeared first on Learn Korean with GO! Billy Korean.
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Plants (palms) for sale
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Jukjangsa Temple – 죽장사 (Gumi, Gyeongsangbuk-do)
Jukjangsa Temple is located below Hyeongje-bong Peak (532 m) in northern Gumi, Gyeongsangnangbuk-do. Jukjangsa Temple is a branch temple of Jikjisa Temple and belongs to the Jogye-jong Order. The temple is believed to have first been founded during the Silla Dynasty (57 B.C. – 935 A.D.). However, the exact date of its founding and by whom are unknown. Additionally, very little is known about the temple’s history until the start of the Joseon Dynasty (1392-1910), when the temple was recorded as Jukjangsa Temple in the 29th volume of the “Sinjeungdong-gukyeoseungram” in 1530. So obviously, Jukjangsa Temple existed and was operating at this time. Eventually, however, the temple would fall into disrepair.
The temple would later be rebuilt in 1954 and was named Beopryunsa Temple. After that, it was briefly known as Gakhwangsa Temple. Eventually, it would be renamed Jukjangsa Temple, once more. Then from 1991 to 1994, Jukjangsa Temple expanded with the construction of the Daeung-jeon Hall, the Samseong-gak Hall, and the Yosachae (monks’ dorms).
Jukjangsa Temple is home to National Treasure #130, which is the “Five-Story Stone Pagoda in Jukjang-ri.” It’s believed that the pagoda dates back to Unified Silla (668-935 A.D.).
Temple LayoutYou first approach the temple past some farmers’ fields. It’s next to these farmers’ fields, and up a valley under Hyeongje-bong Peak, that you’ll arrive at Jukjangsa Temple. The first thing to greet you at Jukjangsa Temple is the “Five-Story Stone Pagoda in Jukjang-ri.”
The “Five-Story Stone Pagoda in Jukjang-ri” dates back to Unified Silla, and it’s ten metres in height. In total, the pagoda stands five-stories, and it’s the largest extant five-story pagoda in Korea. The pagoda consists of a two-tiered base, and some one hundred pieces of stone were used to build the pagoda. The five roof stones are stair-shaped in design. There is a chamber for enshrining a Buddha statue in the first-story body stone. The entrance of this chamber has small holes on each side. This suggests that there once was a door to this chamber. Each of the roof stones to the five-story structure have their upper and lower surfaces carved into tiers. This was done as a design to mimic brick pagodas. Additionally, the base stone for the finial still remains. It’s believed that this stone pagoda imitating brick pagodas is in the same family of design as other imitation brick pagodas in the area of Andong like the “Seven-Story Brick Pagoda at Beopheungsa Temple Site” and the “Five-Story Brick Pagoda in Unheung-dong, Andong.”
The pagoda has a rather interesting legend associated with it, as well. According to this legend, a brother and sister had a competition to make a five-story stone pagoda. Eventually, the sister won by building the “Five-Story Stone Pagoda in Jukjang-ri” faster than her brother.
Just behind this ever-present pagoda on the Jukjangsa Temple grounds is the temple’s Daeung-jeon Hall. The exterior walls to the main hall are adorned with various Buddhist motif murals like the Bodhidharma and Wonhyo-daesa (617-686 A.D.). The pink floral latticework that adorns the front of the Daeung-jeon Hall is simply stunning. Stepping inside the Daeung-jeon Hall, and sitting on the main altar, is a triad of golden statues that’s centred by an image of Seokgamoni-bul (The Historical Buddha). This statue is joined on either side by images of Munsu-bosal (The Bodhisattva of Wisdom) and Bohyeon-bosal (The Bodhisattva of Power). Hanging on the far right wall is a modern Shinjung Taenghwa (Guardian Mural) with a large, winged helmet image of Dongjin-bosal (The Bodhisattva that Protects the Buddha’s Teachings) in the centre. And spread throughout the entire interior of the Daeung-jeon Hall are wall-to-wall smaller images of various Buddhas like Birojana-bul (The Buddha of Cosmic Energy) and Seokgamoni-bul.
To the left rear of the Daeung-jeon Hall is the Samseong-gak Hall. There are masterful shaman murals housed inside this shrine hall. For example, have a look for the ferocious tiger painted inside the Sanshin (Mountain Spirit) mural, as well as the dour-looking expression on Yongwang’s (The Dragon King) face. There is also a nice mural dedicated to Chilseong (The Seven Stars) inside the Samseong-gak Hall, as well.
How To Get ThereFrom in front of the Gumi Intercity Bus Terminal, there’s a bus stop. From this bus stop, you’ll need to take either Bus #20 or Bus #20-1 that heads towards Seonsan. You’ll need to get off at the Seonsan Terminal, which also just so happens to be the last stop. From the Seonsan Terminal, walk about 200 metres to get to the Seonsan-jongjeom stop. From this stop, you’ll need to take either Bus #38-6 or Bus #338-6. After three stops, or five minutes, get off at the Jukjang-ri stop. From this stop, you’ll need to walk about fifteen minutes to get to Jukjangsa Temple.
Overall Rating: 6.5/10By far, the main highlight of the temple also just so happens to be a National Treasure. The “Five-Story Stone Pagoda in Jukjang-ri” is stunning in its size and grandeur. Other things to enjoy at Jukjangsa Temple are the shaman murals housed inside the Samseong-gak Hall, as well as the murals that adorn the exterior of the Daeung-jeon Hall. In combination, the Buddhist artwork at Jukjangsa Temple can make for a nice little trip to Gumi, Gyeongsangbuk-do.
The temple grounds at Jukjangsa Temple as you first approach it. The “Five-Story Stone Pagoda in Jukjang-ri.” The “Five-Story Stone Pagoda in Jukjang-ri” from the front. The Daeung-jeon Hall at Jukjangsa Temple. The pink peonies and lotus flowers that adorn the floral latticework of the main hall. The painting dedicated to Wonhyo-daesa and Uisang-daesa that adorns one of the exterior walls of the Daeung-jeon Hall. The painting dedicated to the Bodhidharma that also adorns the exterior of the main hall. The main altar inside the Daeung-jeon Hall. And the Shinjung Taenghwa (The Guardian Mural) that also takes up residence inside the Daeung-jeon Hall. A look towards the “Five-Story Stone Pagoda in Jukjang-ri” from the Daeung-jeon Hall. The painting dedicated to Sanshin (The Mountain Spirit) with a ferocious tiger inside the Samseong-gak Hall. Joined by this mural dedicated to Yongwang (The Dragon King).—Dale's Korean Temple Adventures YouTube
Polaroid 4K UHD LED TV 43in (109cm)
Polaroid 4K UHD LED TV 109cm(43in)
I was just as surprised that they make TVs as you.
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Price: 100,000 won OBO
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Polaroid TV.jpg Polaroid TV back.jpg —Gerald S.
Computer desk
Computer Desk
Ample space for a home-office:
- computer (not-included)
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Price: 20,000 won OBO
Buyer responsible for transport. Tools on hand for disassembly.
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IKEA BENGTHÅKAN stool
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IKEA TEODORES chair
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IKEA SORTERA Bins
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IKEA flip-top bins.jpgKeyboards
Logitech Bluetooth Keyboard & Philips SPK8404 Gaming Keyboard
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Shinil Air Circulator (Fan)
Get ahead of the summer heat with this remote controlled air circulator
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Shinil Fan.jpg —Gerald S.
Zwilling | J.A. Henckels | 5 Star 6P Knife Block Set
Zwilling J.A. Henckels 5 Star 6P Knife Block Set
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very similar to product below:
https://zwilling.kr/product/detail.html?product_no=595&cate_no=1&display...
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Braun Glass Blender
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Price: 20,000 won
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