[One Sip of a Book] The Creativity and Humor of a Monk Embodied in Iljumun

Editor's NoteSome sentences encapsulate the entire content of a book, while others instantly resonate with readers, creating a connection with the book. We excerpt and introduce such meaningful sentences from the book.

Temples are often called "museums in the forest" because they have preserved Buddha statues, Buddhist paintings, and pavilions over a long period. However, temples themselves are often treasures of history. Stone pillars in the temple courtyard, duck carvings on the roof ridge, tables placed in front of Buddha statues, stairs, and stone terraces all contain historical context, symbolic meanings, and the wisdom and wishes of ancestors. The author provides information about temple stone structures carved on cliffs, stone Buddha statues, stone pagodas, stone lanterns, stupas, boundary stones, and flagpole supports. Stories about restrooms, jars hidden under eaves, and ducks sitting on the ridgepole are also covered.

When visiting stone Buddha statues scattered across the country, many are carved on rock altars that were traditional prayer sites even before Buddhism. Nearby, there are springs or valleys, and most of these places have an extraordinary atmosphere. This means that Buddhist stone Buddha statues appeared and hermitages were established on sites that had long been traditional Korean altars, transforming them into Buddhist temples. Therefore, where stone Buddha statues exist, one must also consider the history before Buddhism. - p.25

The mountain spirit of Seondosan, one of the five sacred mountains (Oak) of the Silla capital Seorabeol, was ‘Seondoseongmo (仙桃聖母)’. According to legend, Seondoseongmo was a daughter of the Chinese imperial family who came to Haedong (ancient Korea) and took her place as the mountain spirit of this mountain. Her son was said to be Park Hyeokgeose, the founder of Silla.

After Buddhism was officially recognized during King Beopheung’s reign, the legend of Seondoseongmo became connected with Buddhism. Seondoseongmo also liked Buddhism and donated ten geun of gold to the Buddhist nun Ji-hye’s construction at Anheungsa Temple, requesting that the gods of the five sacred mountains be well served alongside the Buddha. Thus, traditional folk beliefs harmonized with Buddhist faith without conflict. This story is recorded in the ‘Seondoseongmo’s Joyful Buddhist Construction’ section of the Samguk Yusa. - p.52

The stone Buddha statue at Changdong-ri, Chungju, is best viewed from a boat floating on the river, so it is believed to have been created for the safety of water transporters traveling the river. There were many rapids from Chungju to Yeoju, making the waterway dangerous. Rafts were floated when the river level rose in summer, but the shallow rapids formed by gravel and sediment always required caution. - p.68

With the Japanese colonial rule beginning after the 1910 Japan-Korea Annexation, Japanese Buddhism began to infiltrate and gradually establish a Japanese-style Buddhism. Traditional stone Buddha statue construction, which barely continued until the late Joseon Dynasty, sharply declined, while stone Buddha statues influenced by Japanese Buddhism appeared. Such relics remain on Mt. Yudalsan in Mokpo. - p.83~84

In the ancient era without Buddha statues, it was believed that the revered Buddha could not be represented in any form, so symbols such as Buddha’s footprints, the Bodhi tree under which enlightenment was attained, lotus flowers, and Dharma wheels were carved as representations of the Buddha. Among these, the most important religious object was the pagoda enshrining Buddha’s relics. - p.93~94

Baekje possessed world-class wooden pagoda construction technology at the time. Baekje artisans were dispatched or invited to other countries to build pagodas. When Silla built the nine-story wooden pagoda of Hwangnyongsa Temple in the 14th year of Queen Seondeok’s reign (645), the chief technician was Abiji, a Baekje artisan. The five-story wooden pagoda of Shitennoji Temple in Osaka, Japan, was completed in 593 by three Baekje artisans who crossed over. Although it was destroyed by U.S. bombing during the Pacific War, it was built about 50 years earlier than the Hwangnyongsa nine-story pagoda. The five-story wooden pagoda of Horyuji Temple in Kyoto, built slightly later in 607, was also influenced by Baekje, and excavations revealed it was a Baekje-style temple similar to the temple site in Gunsuri, Buyeo. - p.95

The Baekje people carved stone pagodas in the shape of wooden pagodas. Since the basic model was a wooden pagoda, they faithfully reproduced its form in stone. This stone pagoda is the Mireuksaji Stone Pagoda (National Treasure) in Iksan. Built in the 40th year of King Mu of Baekje (639), it incorporates wooden architectural styles in many places. - p.97

Centered on the three-story stone pagoda of Bulguksa Temple, round stones carved with lotus flowers were placed in eight locations around the base and connected with stone materials to mark the pagoda’s area. This is called ‘Palbang Geumgangjwa (Eight-direction Vajra Seat)’, interpreted variously as the seats of eight bodhisattvas or the seats of the Eight Heavenly Generals. However, since the pagoda’s original name is ‘Seokga Yeorae Sangju Seolbeop Tap’ (Pagoda where Shakyamuni Buddha Preaches), it is also seen as the seats where Buddha and bodhisattvas gather from all directions during sermons. In other words, it evokes the scene of a Dharma assembly led by Shakyamuni Buddha. - p.110

The Mahaparinirvana Sutra states, “Sentient beings lose wisdom due to the darkness of afflictions, but the Buddha lights the lamp of wisdom by skillful means to lead all sentient beings to nirvana.” Ultimately, the lamp symbolizes illuminating the world to save sentient beings and the eternal lamp of wisdom that never goes out. This led to attempts to create permanent facilities, and in Korea, the ‘stone lantern (Seokdeung)’ emerged. - p.160

After Buddhism entered Korea, the long tradition of venerating light merged with offerings of lamps at Buddhist altars, gaining greater significance. Over time, instead of lighting lamps temporarily at the altar, the stone lantern was created as a symbol of always lighting lamps. The author believes this was because it could embody the symbolism of the Dharma lamp illuminating the world through Buddha’s wisdom and teachings, the meaning of always offering lamps before the Buddha, and the traditional belief in venerating light. - p.163~164

Among the relics carefully observed while entering and exiting Sutasa Temple, one is the stone pillar in front of Daejeokgwangjeon Hall. When looking straight at Daejeokgwangjeon, what was the purpose of the solitary stone pillar standing to the right of the central stairs without railings? - p.254

Looking at the boundary stones and stone lanterns in front of Daejeokgwangjeon Hall at Haeinsa Temple, one can read the history of temple lighting that flickered over more than 100 years. Therefore, I feel grateful that Haeinsa preserves these traces without removing them. - p.271

Even a single sumidan (altar platform) has undergone changes and historical processes over a long period. The current sumidan was born over more than 1,000 years. The simple table once placed in front of the Buddha inside the Dharma hall evolved into a screen-type, then a two-tiered and three-tiered stepped sumidan that also enshrines the Buddha. Along with the pedestal-type sumidan of Daewoongjeon Hall at Sudeoksa Temple and the table placed in front, these are cultural assets we should cherish and protect. - p.341

Half natural and half artificial beauty has appeared in Korea since the Three Kingdoms period, symbolically represented by the large stone platform of Bulguksa Temple. This is designated as a treasure under the name ‘Gyeongju Bulguksa Joinery-style Stone Terrace’. - p.347

The most impressive part is where the natural stone and the artificial large stones meet. The bottom of the large stones was naturally carved to fit the uneven top of the natural stones and placed on top. This is the ‘graengi’ technique, where the bottom of the large stones is carved to match the contours of the natural stones to place horizontal large stones on top. This technique is a representative architectural method of Goguryeo and appears frequently in Silla architecture after the unification of the Three Kingdoms. - p.347

The creativity and sense of humor of the monk who made this Iljumun Gate stand out. Upon entering the temple, the monk carved a nameplate on the stone used as the left pillar. There is no complicated content. Inside a square frame, the Chinese character ‘佛’ (Buddha) is engraved in intaglio. It means the owner of the temple is the Buddha. Seeing this nameplate carved like that of a common house makes anyone smile gently. - p.391

Things Suddenly Seen at Temples | Written by Noh Seungdae | Bulgwang Publishing | 432 pages | 30,000 KRW