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Bongamsa Temple – 봉암사 (Mungyeong, Gyeongsangbuk-do)
Bongamsa Temple is located to the south of Mt. Huiyangsan (996.4 m) in northwestern Mungyeong, Gyeongsangbuk-do. Bongamsa Temple was first founded in 879 A.D. by the monk Jijeung (824-882 A.D.), who was also known as Doheon-guksa. Bongamsa Temple was the main temple of the Huiyangsan School, which was one of the nine branches of Korean Seon Buddhism known as the “Seonjong Gusan – Nine Mountain Seon Sects.” These Seon sects were established at the end of the Silla Dynasty (57 B.C. – 935 A.D.) and the start of the Goryeo Dynasty (918-1392).
It’s believed that the temple was named Bongamsa Temple in 881 A.D. by King Heongang of Silla (875-886 A.D.). This name originally came from a story about how at the time of the temple’s construction, there was a cliff named Gyeam, which means “Rooster’s Cliff” in English. This cliff is located in the Baekundae Valley, which is part of Mt. Huiyangsan. According to this story, a rooster crowed every dawn helping to inform people of the time of day. This rooster was considered to be a phoenix, so the temple was named Bongamsa Temple, which means “Phoenix Cliff/Rock Temple” in English.
Bongamsa Temple in 1919. (Picture courtesy of the National Museum of Korea). The Geukrak-jeon Hall at Bongamsa Temple in 1919. (Picture courtesy of the National Museum of Korea).According to an 18th century survey of the names and locations of Buddhist temples in Korea, King Gyeongsun of Silla (927-935 A.D.), who was the last ruler of the Silla Kingdom, took refuge at the temple inside the Geukrak-jeon Hall, while escaping the enemy’s advancing army. Shortly thereafter, all of the buildings at Bongamsa Temple were destroyed by fire except for the Geukrak-jeon Hall.
The temple was later rebuilt in 935 A.D. by the monk Jeongjin-guksa. In 1431, the temple underwent a renovation overseen by the monk Gihwa. The temple was partially destroyed during the Imjin War (1592-98) and rebuilt, once more, in 1674 by the monk Sinhwa. The current shrine halls at Bongamsa Temple were rebuilt in 1915 after a 1907 fire. In 1955, the temple was restored to its present condition.
In addition to all of this history, Bongamsa Temple also played an important role in the contemporary history of Korean Buddhism, as well. In October, 1947, the monks of this temple formed the Bongamsa Gyeolsa, which means “Phoenix Rock/Cliff Temple Association” in English. And in the following three years, attempts were made to reform Korean Buddhism under the slogan, “Let’s live according to the Buddha’s teachings.” Beginning in the early 1970s, more monks started coming to the temple, and in June, 1982, the Jogye Order of Korean Buddhism designated Bongamsa Temple as a special temple. As of 1986, worshippers and visitors can only visit Bongamsa Temple on Buddha’s Birthday.
In total, Bongamsa Temple is home to seven hermitages that include Dongam Hermitage, Hyuhyuam Hermitage, Baekundae Hermitage, Baengnyeonam Hermitage, Hwanjeokdae Hermitage, Wolbongtogul Hermitage, and Yongchuam Hermitage.
In total, Bongamsa Temple is home to one National Treasure and seven additional Korean Treasures. The National Treasure is the “Stele of Buddhist Monk Jijeung at Bongamsa Temple.”
The “Stele of Buddhist Monk Jijeung at Bongamsa Temple” in 1919. (Picture courtesy of the National Museum of Korea). Temple LayoutFrom the entry of the temple grounds, you’ll make your way up the temple road for about a kilometre next to a meandering stream and Mt. Huiyangsan off in the distance. Eventually you’ll come to a fork in the road. To the left, and on the other side of the stream, you’ll find the temple Iljumun Gate. It’s unknown when this entry gate was first built; however, it’s assumed to have been rebuilt some time in the 18th century. It’s the second oldest structure at the temple after the Geukrak-jeon Hall, which is presumed to have been built in the middle of the Joseon Dynasty (1392-1910). At the base of the structure are wooden panels, leading up to support beams that bookend the central pillar. The exterior is adorned with dancheong colours, and the Iljumun Gate is Gyeongsangbuk-do Cultural Heritage Material # 591.
Retracing your steps, and now on the north side of the stream, you’ll find a collection of buildings that include the Wonno-seonwon, as well as a wooden pavilion that houses the “Stele of Buddhist Monk Jeongjin at Bongamsa Temple,” which is Korean Treasure #172. This stele is dedicated to the monk Jeongjin (878-956 A.D.). It was first erected in 965 A.D. Jeongjin was an active monk at the end of Unified Silla (668-935 A.D.) and the start of the Goryeo Dynasty (918-1392). He would study in Tang China (618–690, 705–907 A.D.) for 25 years before eventually returning to the Korean Peninsula in 924 A.D. Additionally, he was an influential figure on three early Goryeo Dynasty Kings that included King Taejo of Goryeo (r. 918-943 A.D.), King Hyejong of Goryeo (r. 943-945 A.D.), and King Jeongjong of Goryeo (945-949 A.D.). The stele consists of a main body stone, a tortoise-shaped pedestal, and a capstone. Overall, the stele is simple in its overall style.
If you follow the trail to the north of the “Stele of Sanbong-daesa,” you’ll find a collection of additional stele and stupas. The most prominent of these stone artifacts is the “Stupa of Buddhist Monk Jeongjin at Bongamsa Temple,” which is Korean Treasure #171. Like the neighbouring stele, this stupa was erected in 965 A.D. to commemorate the monk Jeongjin. The stupa is octagonal in shape, and it consists of a base, a main body, and a capstone. The body of the stone structure is adorned with reliefs of flowers, clouds, dragons, and lotus flower designs. The octagonal body stone is adorned with pillar patterns, while the front face of the stone is engraved with a lock design. Only the lotus bud ornament still remains of the original finial. The stupa imitates the style of the “Stupa of Buddhist Monk Jijeung at Bongamsa Temple” but with less finesse.
Making your way back down the hillside, and towards the large collection of buildings, you’ll first encounter the administrative office at Bongamsa Temple. It’s to the west of this structure, and between a pair of monks’ dorms, that you’ll find the historic Geukrak-jeon Hall. The Geukrak-jeon Hall resembles a pagoda with its two-story structure. However, it’s a single-story structure that’s meant to resemble a pagoda with its four square sides and veranda on all four sides. The exterior walls are adorned with beautiful dancheong colours and murals of lotus flowers and magpies. Entering the Geukrak-jeon Hall, you’ll find a solitary image of Amita-bul (The Buddha of the Western Paradise) on the main altar. Also of interest inside the Geukrak-jeon Hall is a sign that reads “Eopil-gak,” which means that the shrine hall houses a work handwritten by the king. The Geukrak-jeon Hall is one of the oldest temple shrine halls in Korea, which retains features of early temple architecture. But based upon its location and appearance of the current Geukrak-jeon Hall, it was most likely rebuilt sometime in the mid-to-late Joseon Dynasty. But the base and foundation of the structure are much older, possibly even dating back to the Goryeo Dynasty. Additionally, a ridge-roof tile was inscribed with the lettering of “16th Year of Showa” on it, which suggests that the roof was repaired in 1941 during Japanese Colonial Rule (1910-45).
To the right of the Geukrak-jeon Hall, you’ll find the Sanshin-gak Hall. The exterior of the shaman shrine hall is rather plainly painted in understated dancheong colours. Stepping inside the Sanshin-gak Hall, you’ll find a pair of shaman murals. The first to the right is the mural dedicated to Sanshin (The Mountain Spirit), while the painting to the left is dedicated to Dokseong (The Lonely Saint). Of interest is the teapot design found within the painting dedicated to Dokseong. There are the stormy waves of Samsara overseen by a full moon above the raging waters.
To the left of the Geukrak-jeon Hall, on the other hand, is the massive Daeungbo-jeon Hall. The exterior walls are painted in unique murals. It appears as though they are describing a sutra, perhaps even the Lotus Sutra as a friend suggested. There are also four red paintings of the Four Heavenly Kings on the backside of the main hall, as well. Stepping inside the main hall, you’ll find a large, well-populated main altar. In the centre rests an image of Seokgamoni-bul (The Historical Buddha), who is joined on either side by Bohyeon-bosal (The Bodhisattva of Power) and Munsu-bosal (The Bodhisattva of Wisdom). This triad is backed by a wonderfully, long wooden relief that’s populated by various Buddhas, Bodhisattvas, and Nahan (The Historical Disciples of the Buddha). To the left of the main altar is a relief of a Shinjung Taenghwa (Guardian Mural). The interior, just like the exterior, is filled with various murals from what appears to be a sutra. And if you look up at the beams of the structure, you’ll find dragons and Bicheon (Flying Heavenly Deities).
To the left of the Daeungbo-jeon Hall, you’ll find a wooden pavilion that shelters the “Stele of Buddhist Monk Jijeung at Bongamsa Temple” and the “Stupa of Buddhist Monk Jijeung at Bongamsa Temple.” Of the two, the stele is the National Treasure. The stele was first erected in 924 A.D. to commemorate the founder of Bongamsa Temple, the monk Jijeung (who was also known as Doheon-guksa). The size and style of the stele are indicative of late Unified Silla (668-935 A.D.). The stele is divided into three parts: the tortoise-style base, the body stone, and the cloud-designed capstone. The body stone summarizes the history of Buddhism during the Silla Dynasty (57 B.C. – 935 A.D.). The writing on the stele was composed by Choe Chiwon (857–10th century), who was one of the greatest scholars of that time.
To the right of the stele is the historic “Stupa of Buddhist Monk Jijeung at Bongamsa Temple.” While not a National Treasure, the stupa is a Korean Treasure. The stupa is divided into three parts: the stylobate, the main body, and a finial. Housed inside the main body stone are the sari (crystalized remains) of the founding monk of Bongamsa Temple, the monk Jijeung. The stupa was first erected in 883 A.D. There are images of clouds, Gareungbinga (Kalavinka), the Four Heavenly Kings, Bicheon (Flying Heavenly Deities), Bodhisattvas, and a locked door. The roof stone of the structure is octagonal in shape, and it has a two-tiers of rafters. The finial is partly broken, but it retains its overall eloquent design despite the damage. Overall, the stupa is well-balanced and stunning with its reliefs.
To the left of the wooden pavilion that holds this National Treasure and Korean Treasure, you’ll find the Josa-jeon Hall. The Josa-jeon Hall’s exterior walls are adorned with beautiful Shimu-do (Ox-Herding Murals). Stepping inside this hall, you’ll find a large collection of paintings and pictures dedicated to prominent monks that once called Bongamsa Temple home.
In front of the Josa-jeon Hall is the Daejeokgwang-jeon Hall. The exterior walls are adorned with murals dedicated to the Nahan, as well as a wintry scene of the temple grounds. Also on either side of the shrine hall’s signboard are two folkish-looking dragons. Stepping inside the shrine hall, you’ll find a large solitary statue of Birojana-bul (The Buddha of Cosmic Energy) on the main altar. On the far left wall is an older Shinjung Taenghwa (Guardian Mural). And to the rear of this painting, and between the main altar and the mural, you’ll find a class enclosure with a finial. The backside of the main altar contains glass-like miniature statues of the Buddha. And in the back right corner is a shaman mural that contains the most prominent Korean shaman deities like Sanshin (The Mountain Spirit), Chilseong (The Seven Stars), and Dokseong (The Lonely Saint). The interior is filled with what looks to be the Sinseon (Taoist Immortals).
In front of the Daejeokgwang-jeon Hall, and in the western temple courtyard, you’ll find the “Three-Story Stone Pagoda of Bongamsa Temple,” which is Korean Treasure #169. This three-story stone pagoda, which is typical of Silla design, is believed to have been first erected during the 9th century. What’s most remarkable about this rather traditionally design pagoda is that its finial is fully intact. This is exceedingly rare in a pagoda of this age.
About two to three hundred metres up a wooded trail to the west, you’ll find Baekundae Valley, which is where the “Rock-carved Seated Maitreya Bodhisattva of Bongamsa Temple” is located. The large relief is some nearly 5.4 metres in height and 5.02 metres wide. It was first created by the monk Uicheon in 1663. The image of Mireuk-bul (The Future Buddha) has a round, slender face with a sharp nose, meditative eyes, and a gentle closed mouth. Together, the image emits an overall sense of tranquility. Atop the image’s head, he wears a crown with floral designs in the centre. The body of Mireuk-bul is clothed in a robe that’s draped over both of its shoulders. Mireuk-bul sits with his legs crossed. In his right hand, he holds a lotus stem, which he supports with his left hand. And between Mireuk-bul’s eyes, you’ll find a jewel that’s meant to represent his mercy shining out onto the world. It’s presumed that this jewel was added in the mid-20th century and there was just a hollow before that. As for the location of the “Rock-carved Seated Maitreya Bodhisattva of Bongamsa Temple,” it’s located in the idyllic Baekundae Valley. It’s an oasis-like location with clusters of giant boulders, cascading rapids, and pools of emerald coloured mountain water. The entire area has a tranquil feeling to it. And if you have a moment to yourself while there, you should definitely enjoy the areas serene sounds and sublime beauty.
How To Get ThereBy public transportation, it’ll take about an hour and thirty minutes to get to Bongamsa Temple. From the Mungyeong Intercity Bus Terminal, you’ll need to take Bus #20-1. You’ll need to take this bus for 10 stops, or 21 minutes, until you get to the “Ma-seong – 마성 하차” bus stop. From there, you’ll need to cross the street and catch Bus #32. You’ll then need to take this bus for 26 stops, or 55 minutes, and get off at the “Bongamsa Ipgu, Wonbuk 2ri – 봉암사입구, 원북2 하차” bus stop. From where the bus drops you off, you’ll need to walk north for 640 metres, or 10 minutes, until you get to the front entry gate at Bongamsa Temple.
If you don’t want to spend an hour and a half on two buses with a hike at the end, then you can simply take a taxi from the Mungyeong Intercity Bus Terminal. The taxi ride should take about 28 minutes, over 23 km, and it’ll cost you around 30,000 won (one way).
Overall Rating: 9/10Because Bongamsa Temple is open just one day a year to the general public, its off-limits status helps elevate its overall rating. Additionally, the stunning National Treasure, the “Stele of Buddhist Monk Jijeung at Bongamsa Temple,” is one of the finest examples of a historic stele in Korea, which is joined under the same wooden pavilion by the “Stupa of Buddhist Monk Jijeung at Bongamsa Temple.” In fact, all of the Korean Treasures are stunning as is the location of the temple under the granite peak of Mt. Huiyangsan. The location is tranquil, and highlighted by Baekundae Valley in the western outskirts of the temple grounds. This oasis-like location complemented by the “Rock-carved Seated Maitreya Bodhisattva of Bongamsa Temple,” which is yet another of the seven Korean Treasures at Bongamsa Temple. Additionally, the massive Daeungbo-jeon Hall, the historic Geukrak-jeon Hall, and the Daejeokgwang-jeon Hall all deserve your attention, as well. Bongamsa Temple is a wonderful example of how Korean Buddhism blends seamlessly the architecture and artistry with its beautiful surroundings. While busy on Buddha’s Birthday, which is the only day the temple is open to the general public, it’s well-worth the time and effort to see the temple on its annual opening.
The trail leading up to Bongamsa Temple with Mt. Huiyangsan in the background. The streamside Iljumun Gate. The historic Geukrak-jeon Hall. A look inside the Geukrak-jeon Hall at Amita-bul (The Buddha of the Western Paradise). A mural dedicated to Sanshin (The Mountain Spirit) inside the Sanshin-gak Hall. Joined by this image of Dokseong (The Lonely Saint). The large Daeungbo-jeon Hall at Bongamsa Temple. One of the unique exterior wall murals that adorns the Daeungbo-jeon Hall. A look inside the main hall. The main altar inside the Daeungbo-jeon Hall. The wooden pavilion that houses the “Stupa of Buddhist Monk Jijeung at Bongamsa Temple” (right) and the “Stele of Buddhist Monk Jijeung at Bongamsa Temple” (left). A closer look at the National Treasure at Bongamsa Temple: the “Stele of Buddhist Monk Jijeung at Bongamsa Temple.” Joined by the “Stupa of Buddhist Monk Jijeung at Bongamsa Temple.” A closer look at the historic stupa. The Josa-jeon Hall with Mt. Huiyangsan framing the temple grounds. The Daejeokgwang-jeon Hall and the “Three-Story Stone Pagoda of Bongamsa Temple.” A look inside the Daejeokgwang-jeon Hall at the main altar image of Birojana-bul (The Buddha of Cosmic Energy). Baekundae Valley with the image of the “Rock-carved Seated Maitreya Bodhisattva of Bongamsa Temple” in its midst. The “Rock-carved Seated Maitreya Bodhisattva of Bongamsa Temple” from a different angle. An up-close of the “Rock-carved Seated Maitreya Bodhisattva of Bongamsa Temple.” Beautiful Baekundae Valley!—Dale's Korean Temple Adventures YouTube
Beneath the Lanterns: A Photographer’s Journey Through Buddha’s Birthday at Tongdosa Temple
Stepping into the annual Buddha’s Birthday celebration at Tongdosa Temple is like slipping into a parallel world where time slows, and every moment holds a story. On May 15th, I found myself once again among the mountains of Yangsan, visiting this sacred site that has been my haven for over two decades. There’s a timeless magic to Tongdosa, a place that continuously captivates me with its serene ambiance and historical depth, especially during this vibrant festival.
A Contrast in CelebrationsIn contrast to the bustling spectacle at Busan’s Samgwangsa, Tongdosa offers a quieter, more introspective celebration. The whispers of history echo through the temple’s ancient architecture, and as a photographer, the challenge isn’t finding something to shoot—it’s deciding where to begin. With so many intricate details and fleeting moments, the task can be overwhelming. My approach is methodical: I scout the grounds before the blue hour, mentally sketching my shots and preparing for the evening’s visual feast.
The Rituals of PreparationAs dusk approached, I moved with purpose from the front gate to the heart of the temple, orienting myself and soaking in the atmosphere. The rhythmic cadence of the bell ringing and the drumming ceremony set the tone, grounding me in the present and readying my senses for the night ahead.
The Dragon Lantern and the Blue HourThe dragon lantern, majestically coiled around the pond behind the main hall, stood as this year’s centerpiece. It was a challenging shot, with the crowd pressing in and the light playing tricks, but I thrive on such challenges. Adjusting my position, I retreated to the courtyard, ensuring I had the perfect vantage point for capturing the blue hour’s ethereal glow.
An Unexpected EncounterAmidst the flurry of activity, I encountered one of my photography students. His surprise at my swift, purposeful movements was palpable. This wasn’t a leisurely class; it was a high-stakes mission to capture the essence of the celebration. Guiding him through the chaos, I hoped to impart a glimpse of the disciplined spontaneity that defines my work.
A Parting in the RainAs we neared the temple’s entrance, I offered him a ride home. He chose to stay, drawn by the temple’s pull, despite the encroaching rain. Parting ways, I stocked up on snacks and caffeine for the drive, my thoughts lingering on the night’s shoot and the profound connection I feel with Tongdosa.
Memories and MentorsThis temple isn’t just a location; it’s a repository of memories. I remember bringing my parents here after my wedding, sharing the serenity of Tongdosa with them. It’s a place I visited often with my late friend and mentor, Dave Harvey. His spirit feels omnipresent, a guiding force reminding me to check my composition and avoid overexposure, subtly shaping my every shot.
The annual Buddha’s Birthday celebration at Tongdosa is more than a photographic opportunity. It’s a pilgrimage of the heart, a return to a place where past and present coalesce, and every captured image tells a story of reverence, history, and personal connection.
The post Beneath the Lanterns: A Photographer’s Journey Through Buddha’s Birthday at Tongdosa Temple appeared first on The Sajin.
—
Jason Teale
Photographer, educator, podcaster
Podcast Website Instagram
Photographing Korea and the world beyond!
Beneath the Lanterns: A Photographer’s Journey Through Buddha’s Birthday at Tongdosa Temple
Stepping into the annual Buddha’s Birthday celebration at Tongdosa Temple is like slipping into a parallel world where time slows, and every moment holds a story. On May 15th, I found myself once again among the mountains of Yangsan, visiting this sacred site that has been my haven for over two decades. There’s a timeless magic to Tongdosa, a place that continuously captivates me with its serene ambiance and historical depth, especially during this vibrant festival.
A Contrast in CelebrationsIn contrast to the bustling spectacle at Busan’s Samgwangsa, Tongdosa offers a quieter, more introspective celebration. The whispers of history echo through the temple’s ancient architecture, and as a photographer, the challenge isn’t finding something to shoot—it’s deciding where to begin. With so many intricate details and fleeting moments, the task can be overwhelming. My approach is methodical: I scout the grounds before the blue hour, mentally sketching my shots and preparing for the evening’s visual feast.
The Rituals of PreparationAs dusk approached, I moved with purpose from the front gate to the heart of the temple, orienting myself and soaking in the atmosphere. The rhythmic cadence of the bell ringing and the drumming ceremony set the tone, grounding me in the present and readying my senses for the night ahead.
The Dragon Lantern and the Blue HourThe dragon lantern, majestically coiled around the pond behind the main hall, stood as this year’s centerpiece. It was a challenging shot, with the crowd pressing in and the light playing tricks, but I thrive on such challenges. Adjusting my position, I retreated to the courtyard, ensuring I had the perfect vantage point for capturing the blue hour’s ethereal glow.
An Unexpected EncounterAmidst the flurry of activity, I encountered one of my photography students. His surprise at my swift, purposeful movements was palpable. This wasn’t a leisurely class; it was a high-stakes mission to capture the essence of the celebration. Guiding him through the chaos, I hoped to impart a glimpse of the disciplined spontaneity that defines my work.
A Parting in the RainAs we neared the temple’s entrance, I offered him a ride home. He chose to stay, drawn by the temple’s pull, despite the encroaching rain. Parting ways, I stocked up on snacks and caffeine for the drive, my thoughts lingering on the night’s shoot and the profound connection I feel with Tongdosa.
Memories and MentorsThis temple isn’t just a location; it’s a repository of memories. I remember bringing my parents here after my wedding, sharing the serenity of Tongdosa with them. It’s a place I visited often with my late friend and mentor, Dave Harvey. His spirit feels omnipresent, a guiding force reminding me to check my composition and avoid overexposure, subtly shaping my every shot.
The annual Buddha’s Birthday celebration at Tongdosa is more than a photographic opportunity. It’s a pilgrimage of the heart, a return to a place where past and present coalesce, and every captured image tells a story of reverence, history, and personal connection.
The post Beneath the Lanterns: A Photographer’s Journey Through Buddha’s Birthday at Tongdosa Temple appeared first on The Sajin.
—
Jason Teale
Photographer, educator, podcaster
Podcast Website Instagram
Photographing Korea and the world beyond!
How to Study Korean – 9 Effective Learning Tactics
Learn to read Korean and be having simple conversations, taking taxis and ordering in Korean within a week with our FREE Hangeul Hacks series: http://www.90DayKorean.com/learn
Korean lessons * Korean Phrases * Korean Vocabulary * Learn Korean * Learn Korean alphabet * Learn Korean fast * Motivation * Study Korean
Please share, help Korean spread!
How to Study Korean – 9 Effective Learning Tactics
Learn to read Korean and be having simple conversations, taking taxis and ordering in Korean within a week with our FREE Hangeul Hacks series: http://www.90DayKorean.com/learn
Korean lessons * Korean Phrases * Korean Vocabulary * Learn Korean * Learn Korean alphabet * Learn Korean fast * Motivation * Study Korean
Please share, help Korean spread!
“Boring!” 지루하다 VS 심심하다 | Korean FAQ
지루하다 and 심심하다 have simple differences, and also more complex differences. On the surface, 지루하다 is typically used to say that something is "boring," while 심심하다 is used to say that you feel "bored." So use 지루하다 as "to be boring" and 심심하다 as "to be bored." That's it... but there's a bit more to it when you look at their actual usages. Sometimes you might hear one or the other used when it seems the translation doesn't fit. Or you may have heard other verbs that also seem to have the same translations. I'll show which ones you should know how to use and when to use them in this week's newest Korean FAQ episode.
The post “Boring!” 지루하다 VS 심심하다 | Korean FAQ appeared first on Learn Korean with GO! Billy Korean.
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InterLEX provides corporate and personal litigation services in a wide variety of practice areas. We are a leading Korean law firm in labor law, covering SMEs and large corporates with an emphasis on professional care and understanding. InterLEX Labour Law Firms in Korea works with Korean and international clients regularly, handling a broad range of local and cross-border issues, and providing clear and practical advice.
Korean Law.png Untitled design.jpgDongnae language exchange
I am learning Korean and would like to do a language exchange (Korean-English).
Place: Dongnae Station.
Time: Monday morning 9-10am
I can offer free talking in English.
I want to increase my Korean listening and speaking skills which are at the beginner level.
If interested send me a message as soon as possible.
thanks
Joe NZ (saram ib ni da).
Jeokcheonsa Temple – 적천사 (Cheongdo, Gyeongsangbuk-do)
Jeokcheonsa Temple is located to the north of Mt. Osan (514.6 m) in southern Cheongdo, Gyeongsangbuk-do. Jeokcheonsa Temple was originally a cave temple first founded by Wonhyo-daesa (617-686 A.D.) in 664 A.D. The temple was later rebuilt in 828 A.D. by the monk Simji, who was the third son of King Heungdeok of Silla (826-836 A.D.). In 1175, the monk Jinul (1158-1210) rebuilt Jeokcheonsa Temple. Additionally, at the end of Unified Silla (668-935 A.D.) and the start of the Goryeo Dynasty (918-1392), some five hermitages would be built on the Jeokcheonsa Temple grounds, as well. During the Imjin War (1592-98), the temple would be destroyed by the invading Japanese in 1594. The temple would be rebuilt, yet again, in 1664 and repaired in 1694 led by the monk Taeheo.
At the end of the Joseon Dynasty (1392-1910), the temple was used by the Righteous Army. As a result, some of the buildings and the Yosache (monks’ dorms) were destroyed by fire. In 1946, Jeokcheonsa Temple was used to help celebrate the liberation of the Korean Peninsula. The monks at Jeokcheonsa Temple also prayed for the ability of the nation to overcome the difficulties ahead in unifying the country, once again. In 1981, and while repairing the Cheonwangmun Gate, relics such as sari (crystalized remains), sutras, and 23 pieces of cloth, were discovered inside the wooden statues. Additionally, the date of the creation of the Four Heavenly Kings was discovered, as well. These stunning wooden statues were discovered to date back to 1690. And in 1991, the Myeongbu-jeon Hall was built on the temple grounds.
In total, Jeokcheonsa Temple is home to one Korean Treasure. It’s the “Hanging Painting and Flagpole Supports of Jeokcheonsa Temple,” which is Korean Treasure #1432. The temple is also home to a Natural Monument, which is the 800 year old “Ginkgo Tree of Jeokcheonsa Temple.” Lastly, the temple is home to two Gyeongsangbuk-do Tangible Cultural Properties. They are the aforementioned “Wooden Four Heavenly Kings Seated on Stools,” which is Gyeongsangbuk-do Tangible Cultural Property #153; as well as the Daeung-jeon Hall, which is Gyeongsangbuk-do Tangible Cultural Property #321.
Temple LayoutYou first approach the very rural Jeokcheonsa Temple up a long, winding road. In fact, you follow this road for so long that you might think that there isn’t an end to this rural road. When you finally do come to the end of the road, you’ll arrive at the temple parking lot at Jeokcheonsa Temple.
To the left of the gravel parking lot, you’ll find the natural wood exterior of the Cheonwangmun Gate. As you enter the entry gate, you’ll notice four images of the Four Heavenly Kings. They are made from three pieces of wood, and they range in size from 3.4 to 3.8 metres in height. Though they are quite large, they are also well-balanced. They all have stunning red crowns, and they all wear armour. According to written material found on the statues, they are believed to date back to 1690. Rather surprisingly, they are only a Gyeongsangbuk-do Tangible Cultural Property #153 and not a Korean Treasure. And if you look towards the feet of these statues, you’ll notice that they are trampling some pretty scary images of demons underfoot.
Now having passed through the Cheonwangmun Gate, you’ll be greeted on the other side by the rather large Boje-ru Pavilion. The first floor of this structure acts as an entryway into the main temple grounds, while the second story is used for larger dharma talks. You’ll need to slouch down a bit so that you don’t bump your head, while passing through this pavilion.
Climbing the set of stairs that leads up to the temple’s main courtyard, you’ll be greeted by a collection of shrine halls and buildings. To your immediate left is the temple’s understated Jong-ru Pavilion. Housed inside this open-concept bell pavilion are the four traditional Buddhist percussion instruments. They include a beautifully polished bronze bell that’s joined by an equally exquisite blue mokeo (wooden fish drum) and an unpan (cloud plate drum), as well as a freshly painted beopgo (dharma drum). Neighbouring the Jong-ru Pavilion is a rather long Myeongbu-jeon Hall. The exterior walls are adorned in understated dancheong colours. Stepping inside the Myeongbu-jeon Hall, you’ll find a statue of Jijang-bosal (The Bodhisattva of the Afterlife) on the main altar joined by statues of the Siwang (The Ten Kings of the Underworld). And to your immediate right, on the other hand, are a row of structures that include the Yosache (monks’ dorms), the temple’s kitchen, and the administrative office.
Slightly to the right, and straight ahead, is the Daeung-jeon Hall at Jeokcheonsa Temple. The exterior walls of the main hall are adorned with some images of a white Gwanseeum-bosal (The Bodhisattva of Compassion), the Bodhidharma, as well as a collection of the Shimu-do (Ox-Herding Murals). Stepping inside the Daeung-jeon Hall, you’ll find a triad of statues centred by Seokgamoni-bul (The Historical Buddha). And flanking this image on either side are statues dedicated to Yaksayeorae-bul (The Buddha of Medicine, and the Buddha of the Eastern Paradise), as well as Amita-bul (The Buddha of the Western Paradise). It should be noted, however, that this main hall has been locked on me before, so it might not be open when you visit. This Daeung-jeon Hall was built in the late Joseon Dynasty (1392-1910), and it’s Gyeongsangbuk-do Tangible Cultural Property #321.
To the left and right rear of the Daeung-jeon Hall are two smaller sized shrine halls. The shrine hall to the left rear is the Yeongsan-jeon Hall. The exterior walls to the Yeongsan-jeon Hall are adorned in some beautiful landscape paintings. Housed inside this shrine hall are sixteen all-white stone images of the Nahan (The Historical Disciples of the Buddha), who are joined by a triad of white statues on the main altar, as well. Seated in the centre of this triad is Seokgamoni-bul, who is joined by golden, crowned images of Yeondeung-bul (The Past Buddha) and Mireuk-bul (The Future Buddha).
And to the right rear of the Daeung-jeon Hall, and joined by some more monks’ dorms, is the Samseong-gak Hall. The exterior walls to this shaman shrine hall are adorned in floral and landscape paintings. Stepping inside the Samseong-gak Hall, you’ll find a set of paintings dedicated to the three most popular shaman deities in Korea. As you first enter, you’ll be greeted by a rather strange older image of Sanshin (The Mountain Spirit). This rather peculiar image is fronted by a statue of the shaman deity. Just to the right of Sanshin hangs an equally older painting dedicated to Dokseong (The Lonely Saint). And rather atypically, the oldest-looking painting of the set of three, Chilseong (The Seven Stars), hangs on the far right wall. I say atypically because the mural of Chilseong, who represents the heavens, usually hangs in the centre of the set of three.
How To Get ThereUnfortunately, there’s no public transportation that goes directly to Jeokcheonsa Temple from the city of Cheongdo; instead, you’ll need to take a taxi from the Cheongdo Intercity Bus Terminal to get out to the temple. The ride should take you about 15 minutes, and it’ll set you back about 10,000 won (one way).
Overall Rating: 6/10For such a virtually unknown temple, Jeokcheonsa Temple has a lot for visitors to see starting with the Cheonwangmun Gate and the historic Four Heavenly King statues housed inside it. Additionally, you can enjoy the exterior wall paintings of the Daeung-jeon Hall, as well as the all-white statues inside the Yeongsan-jeon Hall and the atypical paintings inside the Samseong-gak Hall. There seems to be a little bit of something for everyone at Jeokcheonsa Temple; the only difficulty seems to be getting there.
The Cheonwangmun Gate. One of the Four Heavenly Kings inside the Cheonwangmun Gate. One of the demons being trampled underfoot inside the Cheonwangmun Gate. The Boje-ru Pavilion. The Jong-ru Pavilion. The Daeung-jeon Hall at Jeokcheonsa Temple. A painting of the Bodhidharma that adorns the exterior of the Daeung-jeon Hall. Joined by a collection of Shimu-do (Ox-Herding Murals). The Myeongbu-jeon Hall. A look inside the Yeongsan-jeon Hall. The Samseong-gak Hall. An older painting dedicated to Chilseong (The Seven Stars) inside the shaman shrine hall. Joined by these images of Sanshin (The Mountain Spirit). And this of Dokseong (The Lonely Saint).—Dale's Korean Temple Adventures YouTube
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Billy Go’s Korean Conversation Course | #7: Bike Riding Meeting – 라이딩 모임
We're up to lesson 7, out of a total of 20. This is a FREE video course for learning real, natural Korean conversation. Each week I'm uploading one new episode. This series focuses on what real conversations are like, covering all of the included grammar, expressions, and vocabulary that appears. I move through the conversations one line at a time, so that anyone with a foundation in the language can follow along.
Today's newest episode is about attending a bike riding meeting (which are fairly common, along with other gatherings), and meeting another member.
The post Billy Go’s Korean Conversation Course | #7: Bike Riding Meeting – 라이딩 모임 appeared first on Learn Korean with GO! Billy Korean.
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Daesansa Temple – 대산사 (Cheongdo, Gyeongsangbuk-do)
Daesansa Temple is located to the northeast of Mt. Cheonwangsan (619.3 m) in western Cheongdo, Gyeongsangbuk-do. According to the “Woleunsan Daesansa Sajeok – 월은산 대산사 사적,” which is the only historical record about Daesansa Temple, the temple was first established in 830 A.D. by the famed monk Wonhyo-daesa (617-686 A.D.). But as you can tell from the time that Wonhyo-daesa actually lived, this makes the construction of the temple by Wonhyo-daesa a little suspicious.
With this in mind, when the temple was first established, it was named Yongbongsa Temple. During the Goryeo Dynasty (918-1392), Ilyeon (1206-1289) was the head monk of Yongbongsa Temple. It was at this time that the history of Daesansa Temple was written.
During the Imjin War (1592-98), the temple was destroyed by Japanese forces in 1592. The temple would later be rebuilt through the support of the royal family. However, in 1866, the temple was destroyed, once more, when it was looted and set on fire by thieves. In 1876, the temple was rebuilt and renamed as Daesansa Temple. However, the temple would be destroyed by fire, again, in 1930. So in 1959, the temple was rebuilt for the final time and continues to grow in size up to the present day.
In addition to the history of the temple, there’s a legend that claims that during the Silla Dynasty (57 B.C. – 935 A.D.), a Sugwanseeum-bosal (A Three Thousand Armed Image of the Bodhisattva of Compassion) drifted in the South Sea from the Mokji Kingdom. In total, there were three. One found a home at Unmunsa Temple, the other in an unknown location, while the final was enshrined at Daesansa Temple (Yongbongsa Temple). This would make the temple great. During the Imjin War, this statue of Gwanseeum-bosal was buried in the ground to hide it from Japanese looters. However, it’s claimed that a thief did in fact find the location of the statue. But when he was digging it up, the thief started to vomit blood and died while digging it up. However, by the late Joseon Dynasty (1392-1910), when the temple was looted and set fire to, the statue of Gwanseeum-bosal was destroyed, as well. However, there is a claim that the statue was buried in a field before it and the temple were destroyed only to be rediscovered in 2000 in a neighbouring field. According to those that found it, this statue validates the temple legend of the statue of Gwanseeum-bosal. Whatever the case may be, it’s a rather interesting story connected to the once illustrious temple.
Temple LayoutDaesansa Temple is scenically located past the Daesan-ji Lake and up a side-winding mountain road that looks down on the valley below. As you first enter the grassy temple courtyard, you’ll notice the monks’ dorms and visitors’ centre book-ending the main hall at Daesansa Temple. Out in front of the Wontong-jeon Hall is a historic two-story pagoda that was obviously much larger once judging from its stout base. Lining the top of the base stone are several Buddhist related statues left behind by visitors.
Behind this pagoda rests the Wontong-jeon Hall. The exterior walls to this newly built main hall are adorned with two separate sets of murals. The first, and the much larger ones below, are dedicated to the Palsang-do (The Eight Scenes from the Buddha’s Life Murals). And above this, and much smaller and up near the eaves of the shrine hall, you’ll find a beautiful miniature set of the Shimu-do (The Ox-Herding Murals). The entire exterior to the main hall is adorned in vibrant dancheong colours.
Stepping inside the Wontong-jeon Hall, you’ll notice a rather unique set of main altar statues. The largest of the set is dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion). Joining this central statue to the left is a golden capped image of Jijang-bosal (The Bodhisattva of the Afterlife), while to the right you’ll find an image of Seokgamoni-bul (The Historical Buddha). Rounding out the interior of the main hall is a collection of artwork that includes an older mural dedicated to Jijang-bosal, as well as a Shinjung Taenghwa (Guardian Mural).
To the right and rear of the Wontong-jeon Hall are a collection of three shaman shrine halls. The first of these three, and to the far left rear, is the Sanshin-gak Hall. The all-natural wooden exterior houses a mural dedicated to Sanshin (The Mountain Spirit). Sanshin is joined in this mural by a dour-looking tiger. To the right of the Sanshin-gak Hall, and still to the rear of the main hall, is a somewhat larger shaman shrine hall. This shrine hall is the Chilseong/Dokseong-gak Hall. Housed inside this shaman shrine hall are a pair of paintings. The first of these two paintings, and hanging on the main altar to the left, is an older mural dedicated to Chilseong (The Seven Stars). And to the right hangs a beautifully vibrant mural dedicated to Dokseong (The Lonely Saint).
The third, and final, shaman shrine hall directly to the right of the Wontong-jeon Hall is the Yongwang-dang Hall. The Yongwang-dang Hall is situated down a set of stone stairs. This shrine hall houses one of the more stunning paintings dedicated to Yongwang (The Dragon King) that I’ve seen in my travels throughout Korea. This masterful painting is a new addition to the temple, and the former red wooden tablet that used to be housed inside the Yongwang-dang Hall now rests out in front of the Yongwang-dang Hall.
How To Get ThereFrom the Cheongdo Intercity Bus Terminal, you’ll need to take Bus #1 and get off at the “Nokmyeong 2-ri” stop after seven stops, or 17 minutes. From this stop, you’ll then need to take a bus that reads “Punggak Sunhwa – 풍락 순환 버스.” After six stops, or 19 minutes, you’ll need to get off at the “Oksan 2-ri” stop. From this stop, you’ll need to walk for about 30 minutes, or 2.1 km, to get to the temple. Just follow the signs as you make your climb up towards Daesansa Temple.
Overall Rating: 6.5/10The main highlight to this lesser known temple are all the shaman shrine halls and the artwork that they house inside them. For example, the painting dedicated to Yongwang (The Dragon King) is one of the finest that you’ll see at any temple in Korea. And the dour-looking tiger in the Sanshin (Mountain Spirit) painting is a surprise, as well. Also, the entire interior and exterior of the Wontong-jeon Hall is simply stunning. Daesansa Temple also enjoys a beautiful location. So when it’s all put together, Daesansa Temple in Cheongdo, Gyeongsangbuk-do makes for a nice little escape from the busyness of daily life.
The view from the heights of the temple grounds. The Wontong-jeon Hall. The two-story stone pagoda in front of the main hall. A look at the main hall from the side. One of the paintings from the Palsang-do (The Eight Scenes from the Buddha’s Life Murals). One of the Shimu-do (Ox-Herding Murals) that adorns the exterior of the Wontong-jeon Hall, as well. A look inside the Wontong-jeon Hall during morning worship. The Sanshin-gak Hall to the rear of the main hall. A look at Sanshin (The Mountain Spirit) and his dour-looking tiger inside the Sanshin-gak Hall at Daesansa Temple. Next to the Sanshin-gak Hall is the Chilseong/Dokseong-gak Hall. An older mural dedicated to Chilseong (The Seven Stars) inside the aforementioned shaman shrine hall. Joined by this modern painting dedicated to Dokseong (The Lonely Saint). And next to the Chilseong/Dokseong-gak Hall is the compact Yongwang-dang Hall and this amazing painting dedicated to Yongwang (The Dragon King).—Dale's Korean Temple Adventures YouTube
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Fan Meetup Announcement 2024
It's time for another meetup! I always have a great time meeting with fans in Korea, and I'm looking forward to seeing many of you again! We'll meet in Seoul, and the specific location and time will be in the video description. Make sure to RSVP if you're planning on attending so I can know how many people will be there.
The date will be Saturday, May 25th. Check out the RSVP link for the details.
The post Fan Meetup Announcement 2024 appeared first on Learn Korean with GO! Billy Korean.
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EdTechTalk Discussion of 'Learning in a Time of Abundance' (Chpt 2: Abundance)
The EdTechWeekly gang continues its discussion of Dave's new book, Learning in a Time of Abundance.
This week: Chapter 2 - Abundance
We continue the conversation next week.
May 20, 2300 UTC (7pm EDT)
Global Times
Links Mentioned
- Dave’s Garden House
- The Recipe with Kenji and Deb
- SeriousEats.com The Food Lab
- Suno Song Generator
- Fixable | Podcasts | TED
- Dr. Idz Nutrition Info Fact-checker
Sections (as determined and not-so-accurately described by Zoom's AI)
Summary
The team discussed the concept of abundance, particularly in relation to material and information goods, and its impact on the traditional teacher-student relationship and the role of education. They also explored the challenges of staying informed on various issues, the importance of critical thinking and information literacy, and the need for simplicity and transparency in recipe websites and cooking approaches. Lastly, they engaged in a lively discussion about the impact of music on society, the changing definition of authorship in the digital age, and their preferences for educational podcasts.
Discussing Abundance and Social Implications
Janguisa Temple – 장의사 (Goseong, Gyeongsangnam-do)
Janguisa Temple is located on the eastern slopes of Mt. Munamsan (459.4 m) in eastern Goseong, Gyeongsangnam-do. Janguisa Temple was first founded by the famed monk Wonhyo-daesa (617-686 A.D.) in 642 A.D. After its founding, nothing is known about the temple’s history. In 1885, Janguisa Temple was destroyed by flooding. The temple was rebuilt in 1891 in its current location, which is lower on the mountain than its original location. The temple was rebuilt, once more, by the monk Hobong in 1920. And the temple we know today was rebuilt in the early 1960s.
Janguisa Temple is home to one provincial treasure, it’s the “Goseong Janguisa Stone Gwanseeum-bosal Statue,” which is Gyeongsangnam-do Tangible Cultural Property #511. However, it should be noted that this treasure is currently off-limits to the general public, as it doesn’t appear inside any of the shrine halls at Janguisa Temple.
Temple LayoutYou first make your way up to Janguisa Temple up a winding mountain road that overlooks the harbour from some distance. Along the way, you’ll pass by the slender Iljumun Gate. Eventually, you’ll arrive at the temple parking lot with the temple to your right.
You’ll pass between the administrative offices at the temple, as well as the Jong-ru Pavilion to your right. Housed inside the Jong-ru Pavilion is a beautiful bronze bell with images of Buddhas and Bicheon (Flying Heavenly Deities) on it. Crowning the bronze bell is a two-headed image of a dragon.
Around the corner, and to the left, you’ll enter into the main temple courtyard at Janguisa Temple. Looking straight ahead, you’ll see the Daeung-jeon Hall, which has just recently been repainted. The exterior walls to the main hall are vibrantly adorned with images of various Buddhas and Bodhisattvas like Bohyeon-bosal (The Bodhisattva of Power), Seokgamoni-bul (The Historical Buddha), Gwanseeum-bosal (The Bodhisattva of Compassion), Jijang-bosal (The Bodhisattva of the Afterlife), and Munsu-bosal (The Bodhisattva of Wisdom). In addition to these stunning paintings, there are also images of lotus flowers, Podae-hwasang (The Hempen Bag) and a collection of the Palsang-do (The Eight Scenes from the Buddha’s Life Murals). Stepping inside the Daeung-jeon Hall, you’ll find a main altar occupied by a triad centred by Seokgamoni and joined on either side by a green haired image of Jijang-bosal and Gwanseeum-bosal. And rounding out the interior of the main hall is a modern Shinjung Taenghwa (Guardian Mural) hanging on the far left wall.
To the left of the Daeung-jeon Hall is the administrative offices at Janguisa Temple, as well as the temple kitchen. In this area, and closer to the main hall, you’ll find an outdoor shrine dedicated to the Bodhisattva of Compassion. And to the right of the Daeung-jeon Hall, you’ll find the Cheonbul-jeon Hall. The exterior walls to this hall are adorned with fading murals of the Bodhidharma and various Buddhist related murals. Stepping inside the Cheonbul-jeon Hall, you’ll find a shrine hall filled with smaller statues of Seokgamoni-bul, Jijang-bosal, and Gwanseeum-bosal. This is repeated on the main altar, where you’ll find the exact set same with the central image being that of the Historical Buddha being joined on either side by the Bodhisattva of Compassion and the Bodhisattva of the Afterlife.
Between the Cheonbul-jeon Hall and the Daeung-jeon Hall, you’ll find a long flight of stairs. This leads up to the Samseong-gak Hall in the treeline. The exterior walls are adorned with simple dancheong colours. Stepping inside the shaman shrine hall, you’ll find four, instead of the more traditional three, shaman murals. The first, as you step inside, is the most original of the four. This painting is dedicated to Sanshin (The Mountain Spirit); but instead of it being a male Mountain Spirit, this image is of a female Sanshin. The painting is reminiscent of the image of a female Sanshin found at Daewonsa Temple in Jirisan National Park. To the left of this female Sanshin is a modern, black accented, mural dedicated to Chilseong (The Seven Stars). To the left of this central painting is an older painting, probably painted at the same time as the female Sanshin, dedicated to a dour-looking Dokseong (Lonely Saint). Finally, and hanging on the far left wall, is a seated image of Yongwang (The Dragon King) being accompanied by a yellow dragon.
How To Get ThereThe easiest way to get to Janguisa Temple is by taxi. From the Goseong Intercity Bus Terminal, you can catch a taxi to the temple. It’ll take under 15 minutes, over 10 km, and it’ll cost about 15,000 won (one way). If you’re going in a group, this is probably the best way to travel.
However, if you’d rather public transportation, you can take Bus #989 to get to Janguisa Temple from the Goseong Intercity Bus Terminal. You’ll need to take this bus for 10 stops and get off at the “Ma-dong” bus stop. In total, the bus ride should take about 25 minutes. From where the bus drops you off, and this is where it gets difficult, you’ll need to walk nearly two kilometres north, which will take about 40 minutes, to get to Janguisa Temple. In total, the travel time should be just over an hour depending on how fast you hike.
Overall Rating: 6/10While definitely lesser known, Janguisa Temple has a few highlights which are most noticeably the female Sanshin (Mountain Spirit) housed inside the Samseong-gak Hall and the newly painted murals adorning the exterior of the Daeung-jeon Hall. On a clear day, you can enjoy the view out towards the harbour, as well as the bronze bell housed inside the Jong-ru Pavilion. Janguisa Temple definitely has a serene feeling to it.
The Iljumun Gate at Janguisa Temple. Walking towards the main temple courtyard with the Jong-ru Pavilion to the right. A look inside the Jong-ru Pavilion at the bronze bell. The Daeung-jeon Hall (left) and Cheonbul-jeon Hall (right). One of the Palsang-do (The Eight Scenes from the Buddha’s Life Murals) that adorns the exterior of the Daeung-jeon Hall. A mural of Munsu-bosal (The Bodhisattva of Wisdom) that adorns the Daeung-jeon Hall. Joined by this painting of Podae-hwasang (The Hempen Bag). As well as this painting of dongja (attendants) and pink lotus flowers. And this blue dragon. The main altar inside the Daeung-jeon Hall. Accompanied inside the main hall by this modern Shinjung Taenghwa (Guardian Mural). Inside the Cheonbul-jeon Hall. The long stairs leading up to the Samseong-gak Hall. The female Sanshin (Mountain Spirit) at Janguisa Temple. Joined by this mural dedicated to Chilseong (The Seven Stars) inside the shaman shrine hall. As well as this older mural dedicated to Dokseong (The Lonely Saint).—Dale's Korean Temple Adventures YouTube
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