Bahan Paper Bulkusa

Bulguksa: The Temple of Buddha Land

As the name indicates, Bulguksa was designed as a realization of the blissful land of the Buddha in the present world. It was intended to embody the happy land where the mortal being is released from the suffering of life by following the teachings of the Buddha, or the Lotus Land as promised in the Avatamsaka Sutra, which offered the theoretical foundation for construction of the temple. Therefore, the temple had to be not only faithful to the teachings of the Buddha but beautiful as well. It is obvious that prominent monks and artists contributed their thoughts and aesthetic ingeniousness to build the temple under the guidance of Kim Dae-Seong, who was a devoted believer and able administrator with a remarkable eye for beauty.

An imposing complex of beautiful wooden shrines and stone pagodas built upon decorative stone terraces, the temple stands on the western midslope of Mt. Tohamsan overlooking fertile plains and the mythical mountain, Namsan, beyond. The elevated compound is reached by climing up thirty-three stone stairs adorned with elaborate railings, named the Bridge of White Cloud and the Bridge of Blue Cloud, which symbolize the thirty-three heavens. The cloistered sanctuary is divided into two realms, the land of Seokgamoni Buddha and the land of Amitabha, the Buddha of Boundless Light. The "impure land" of Seakgamoni Buddha is larger and higher than the "pure land" of Amitabha. This is because Seokgamoni is praised as the more noble for the chose to appear in the mundane world out of his great compassion. The main courtyard which is dedicated to Seoakgamoni, the Historic Buddha, includes Daeungjeon, the main worship hall enshrining a gilt-bronze buddha triad. A pair of famous pagodas, Seokgatap, or the Seokgamoni Pagoda, and Tabotap, or the Pagoda of Many Treasures, stand in front of the main worship hall, A lecture hall named Musolijeon, or the Hall of No Discourse, stands to the

north of the worship hall. The shrines of Vairocana and Avalokitesvara stand at the back of the lecture hall. Geungnakjeon, or the Paradise Hall, dedicated to Amitabha, the Buddha of Western Paradise, is located to the west of the main courtyard. From the outer terrain, the hall is reached through a separate gate and stairs named the Lotus Bridge and Bridge of Seven Treasures. Amitabha, who vowed that all who believed in him and who called upon his name would be born into his paradise, has a broad following among Koreans. Faith alone ensures rebirth in his paradise, so it is certainly easier than self-attainment leading to enlightenment. Among the many treasures of Bulguksa, the pagoda pair in the main courtyard have an unmatched reputation. Indeed, part of the fame of Bulguksa itself is owing to this unique pair. The princely dignity and simplicity of the Seokgamoni Pagoda dramatically enhances the complexity of the Pagoda of Many Treasures that stands some 100 feet away with its lavish decorative details. The two stone pagoda have stood in dynamic contrast for over 12 centuries surviving the flames of war that engulfed all of the temple's original wooden structures. None of the some thousand stone pagodas scattered across Korea excel them for profound philosophical depth and aesthetic charm. The Seokgamoni Pagoda represents the finest style of Korean Buddhist pagodas that evolved from China's multistoried pavilion-type wooden pagodas. The three-story pagoda is admired for its proportions and simple but graceful style. The highly decorative Tabotap, symbolizing Prabhutaratna Buddha, is an exceptional case that demonstrates the wondrous skill of Unified Silla masonry. The pagoda features what is assumed to be an enlarged version of a luxurious sarira shrine supported by a roof-like square slab resting on four pillars and massive brackets. The pillars stand on an elevated platform approached by four staircases, each with 10 steps symbolizing the 10 paramitas, or great virtues.

The arrangement of the two pagodas was inspired by the legend that when Seokgamoni preached the Lotus Sutra, the pagoda of Prabhutaratna emerged out of the earth in witness of the greatness and truth of his teaching. Meanwhile, the Seokgamoni Pagoda is also called the "Pagoda without Reflections," denoting the sad legend of Asanyeo, wife of the Baekje mason, Asadal, who built the pagoda. The poor woman came to Gyeongju to see her husband as years had passed without any news from him. No outsiders were allowed into the site of a holy project and she was told to wait by a pond near the temple until the completed pagoda cast a reflection in the water. She waited in vain and finally threw herself into the pond. A collection of precious treasures was found in the Seokgamoni Pagoda during repair work in 1966. They include a paper scroll of the Pure Light Dharani Sutra, printed between 706 and 751. Measuring 6.2 meters in length and 6.7 centimeters in width, the scroll is recognized as the world's oldest printed material. The pagoda also yielded three sets of exquisitely decorated sarira containers including a gilt-bronze casket in elaborate openwork, a gilt-bronze box with a fine engraving of bodhisattvas and heavenly kings, and a glass bottle containing 46 grains of holy relics. The Pagoda of Many Treasures was dismantled and reassembled by the Japanese in the 1920s but no record concerning the repair or the treasures found inside it remains. Back in 1593 during the Hideyoshi invasions, a group of Japanese pirates set fire to the temple upon discovering weapons hidden in one of its shrines. All of the wooden structures were burnt down at this time. The temple was reconstructed over a period of 150 years beginning in 1604 but never regained its old splendor. The foundations of lost structures were excavated in an intensive investigation conducted in 1969. Based on the result of the excavation, several buildings and cloisters were reconstructed and the stone terraces were repaired in the early 1970s. But a

lotus pond known to have existed beneath the staircases leading up to the main courtyard was left out of the renovations.

Lee Kyong-hee, World Heritage in Korea (Seoul: Organizing Committee for thr Year of Cultural Heritage 1997 & Samsung Foundation of Culture, 1997)Seokguram Grotto · Bulguksa Temple

Preface

A small but noble pantheon of divinities symbolizing Buddhist philosophy and aestheticism, Seokguram is a structure of sublime beauty culminating religious belief, science and fine arts which flowered in the golden age of Asian art

Overlooking the East Sea far ahead beyond the mountain ridges from the southeastern tip of the Korean Peninsula, Seokguram stands as a proud testimony to Korea's brilliant tradition of classical Buddhist sculpture. A small but noble pantheon of divinities symbolizing Buddhist philosophy and aestheticism, the eighth-century cave temple is a structure of sublime beauty culminating religious belief, science and fine arts which flowered in the golden age of Asian art. Seokguram is located near the tummit of Mt. Tohamsan, east of the historic city of Gyeongju, capital of the Silla Kingdom (57B.C.-A.D.935).

It is reached after an hour-long walk up a steep, winding mountain path over some four km from Bulguksa, another famous temple dating to the eighth century when Silla was at the peak of its strength. The capital of Silla rivalled in splendor the Dang capital of Jangan and its culture shared in the international character of Dang at this time when all of East Asia enjoyed unprecedented peace and prosperity.

Buddhism first reached Korea in the fourth century through China but it truly flowered only after the court of Silla officially recognized it as the state religion.

After Silla unified the peninsula in the mid-seventh century by conquering the rival states of Goguryeo and Baekje, Buddhism not only served a religious function but was looked upon as a protective force. Temples of magnificent scale were erected in and around Gyeongju as they were regarded as a supernatural defense against external threats and bastions of national consciousness. According to the scant historical records available today, both Seokguram and Bulguksa, the two supreme accomplishments of Silla Buddhist architecture, were built under the supervision of Kim Dae-seong, who came from the royal family and served as prime minister under the reign of King Gyeongdeok.

The construction began in 742, the year after Kim resigned from his top position in court. He died in 774 without seeing the completion of the historic projects several years later under the reign of King Hyegong. As a complement to Bulguksa, which was dedicated to the present generation, the granite temple of Seokguram is said to have been intended to honor those who had been Kim's parents in his previous life. Whoever the patron or whatever the motivation, Seokguram was apparently designed as a private chapel for royalty considering its scale, philosophical depth and aesthetic standard, whereas Bulguksa, a grand complex of various worship halls and pagodas, was intended as a state monastery to serve the public.

Too small and cozy to have been conceived as a place for congregation in spite of the enormous resources required for its construction, the grotto shrine represents a pinnacle of religious sculpture not only in Korea but in all of East Asia.

One of Korea's most popular tourist destinations drawing thousands of visitors from home and abroad daily, Seokguram recalls the long journey Buddhism made from its homeland of India through central Asia and China to Korea. A gem of ancient Buddhist architecture punctuating the eastern terminal of the Silk Road, the shrine testifies to the enthusiasm and sacrifice of early Korean monk pilgrims who risked their lives to experience firsthand the exotic traditions of their faith in the faroff land of India. Buddhist grottos are generally believed to have originated in ancient India.

They are divided largely into two kinds according to form and purpose: caitya, literally a "sanctuary" or a hall containing a sacred object to be worshipped such as a small stupa or a Buddha image; and vihara, a monastery or shelter for monks, often with chapels for images or a stupa placed in the central court which also served as a place for instruction. Grottos in th caitya style were later adopted by the Chinese in the hundreds of caves stretching over a mile along the cliffs of Dunhuang and the sandstone hills of Yungang. Seokguram, with a rectangular antechamber leading to a circular domed main chamber, resembles ancient Indian cave temples.

Though inspired by the cave temples of ancient India and China, Seokguram differs in construction to its prototypes which were mostly built by digging into hillsides and carving on natural rocks. Korea's topographical features comprising solid rock beds probably made it impossible to import the idea of the sculptors of Karle or Ajanta, who carved thousands of figures, stupas and apse ends out of the soft conglomerate rock and clay. Instead, an incredible artificial cave was assembled with granite on the heights of a mountain some 750meters above sea level, an architectural technique without precedent the world over.

Apex of Korean Buddhist Sculpture

Highlighted by the majestic seated Buddha with a serene, all-knowing expression as the primary object of worship, Seokguram enshrines an impressive assembly of 40 different divinities embodying various aspects of Buddhist teaching. The grotto chapel, in spite of the diversity of the icons ensconced, has a unique feeling of peace and unity resulting in an intense spiritual impression. The prominent skill for handling solid granite aside, modern scientists investigating the source of this rare sensation of sacred harmony discovered that the Silla architects employed the geometric theories of the golden rectangle and symmetry.

Seokguram is meticulously designed to guide the faithful into the holy of the Buddha, a mysterious spiritual journey to the realm of nirvana in a limited span of time and space. In ancient times when there was no transportation, everybody was supposed to walk up the rugged, serpentine mountain path. The journey was to begin at the foot of Mt.Tohamsan which was considered a holy mountain by the people of Silla, or, symbolically, it began from Bulguksa which straddles the mountain's western midslope. After climbing up the mountain for an hour or so, the pilgrim was to quench his thirst with the icy cold water gushing up from a fountain in front of the shrine.

Passing the arched entrance into the rectangular antechamber and proceeding through a slightly narrower corridor, their walls decorated with a legion of bas-relief images of various guardian deities, the worshiper would leave the secular world behind and be prepared to face to Buddha in the main rotunda. An image of serenity and power, the Buddha is seated cross-legged on a lotus throne, with his eyes half-closed in meditation and a faint smile on his lips.

The Buddha is surrounded by bodhisattvas, arhats and ancient Indian gods carved in high relief on the wall of the circular hall. Here the ancient Silla architects probably borrowed the concept of the early Indian stupas and the mounded graves of Gyeongju but in a reversed form to create a "hollowed stupa." Inside the shrine, with the dim light making subtle changes to the texture of the granite carvings as he moves, the worshiper could walk around the Buddha and possibly face himself and experience nirvana to realize that life and death can be one in the void of nothingness.

The construction method of Seokguram remains a wonder for modern architects. Hundreds of granite pieces of various shapes and sizes were assembled to form the cave. No mortar was used; the stones are held together by stone rivets. Natural ventilation was provided to control the temperature and humidity inside the cave, though the wisdom of ancient architects failed to be conveyed in the process of its preservation in modern times. The main rotunda, believed to stand for heaven in contrast to the earth which is represented by the rectangular antechamber, measures 6.84 to 6.58 meters in diameter. It has a drum built of 10 granite slabs, upon which 15 granite panels with sculpted images of bodhisattvas, arhats and ancient Indian gods form the circular wall. Above these icons and separated by lintel, there are 10 niches, each containing miniature statues of seated bodhisattvas and faithfuls. Slightly tilted toward the back from the center of the rotunda is a round lotus pedestal, on which th Buddha sits facing the antechamber across the corridor. The domed ceiling is capped with a round granite plate decorated with a lotus design.

The Buddha and Other Deities

The elegant and majestic main Buddha of Seokguram epitomizes the aestheticism of Korean Buddhist sculpture. An enigmatic combination of masculine strength and feminine beauty and a personification of divine and human natures, the Buddha represents Korean Buddhist sculpture at the zenith of classical realism.

Chiselled out of a single granite block, the 3.5-meter-high Buddha image envisages Seokgamoni, the Historic Buddha, at the moment of enlightenment. He is seated in a cross-legged position on a 1.34-meter-high lotus pedestal, with his right foot exposed as it lays across his left knee. His hands are poised in a mudar touching the earth to call it to witness his realization of enlightenment.

The Buddha has tightly curled hair and a distinct usnisa, the protuberance on the top of the head symbolizing his supreme wisdom. Beneath the broad forehead the double eyebrows are shaped like crescent moons and the eyes are half-shut gazing vaguely ahead in deep meditation. He wears a faint smile and his body is rounded and voluminous as though inflated by an inner force.

The robust torso is draped in a flowing robe with gentle folds exposing the right shoulder in respect of early Indian customs. The drapery is obviously a Korean interpretation of the Indian prototype of a tightly-clinging robe. The fan-shaped folds about the legs also indicate the Gupta-period Indian influence. The details of the robe covering the right arm and chest are realistically portrayed.

The lotus pedestal on which the Buddha sits consists of three sections. The upper and lower sections are round and decorated with lotus petals, while the narrower central section is octagonal with eight small pillars supporting the upper section at each point

of the octagon. The pedestal is placed on a round foundation. A big granite roundel adorned with lotus petals around the rim is set on the wall behind the Buddha, creating the illusion of an aureole around his head. This is one of the distinct features of Seokguram. The nimbus is normally attached to the back or the head of most other Buddha images.

The Buddha lords it over an assembly of three bodhisattvas, ten disciples and two Hindu gods carved in relief on the wall of the rotunda as well as the ten miniature statues of bodhisattvas, saints and faithfuls seated in the niches above, at the level of his eyes. On the two walls of the corridor leading out to the antechamber are relief figures of the Four Heavenly Kings, two on each side. Two powerful bas-relief images of Vajrapanis, the fierce guardians of temples, stand vigil on either side of the entrance to the passageway and the Eight Guardian Deities decorate the walls of the antechamber, four on each side.

Aside from the main Buddha, the Eleven-faced Avalokitesvara, or the Bodhisattva of Compassion, standing at the center of the back wall of the rotunda, probably draws the greatest admiration among all the deities in the shrine. This graceful Avalokitesvara, standing 2.18 meters high on an opulent lotus base, wears a crown decorated with the heads of ten bodhisattvas and a central Amitabha, or the Buddha of Boundless Light. He is dressed in flowing robes and decked with resplendent jewelry. He holds a vase containing a single lotus blossom in his left hand and a long beaded necklace in his right hand, Standing right at the back of the Buddha, this is the only figure facing straight ahead while the faces of all other images are portrayed obliquely.

Ten arhats, or the disciples of Seokgamoni, are lined up beside the Eleven-faced Avalokitesvara, five on each side. They have distinctly different countenances with sharp noses and deep-set eyes and bony bodies that are easily traced to the Indian ascetics

depicted under Greek influence. Wearing ankle-length saris, each of the shaven-headed arhats holds a small object like a book, a bottle or an alms bowl, or has hands poised in a symbolic gesture.

Two elegant bodhisattvas stand next to the arhats, one on either side. They are the popular Manjusri, the representation of divine wisdom, who holds a small cup in his hand, and his companion Samantabhadra holding a book. Next come the two famous Indian devas, Mahabrahmanah (Brahma) and Sakradevanam Indra (Indra), with their egg-shaped haloes.

Standing to the left of the entrance of the rotunda, Brahma holds a whisk in his right hand and a small bottle in his left hand. Indra, standing on the opposite side to the right of the entrance, holds a whisk in his right hand and a ritual thunderbolt in his left hand. The corridor leading to the main hall features the Four Heavenly Kings, the guardians of the four corners of the heavens who are often found at Korean temple gates. They are presented two on each side of the corridor. They are clad in armor and flowing robes, each trampling a demon and carrying an object such as a sword or a small stupa. The demons vary in shape and posture. Traces of paint remain in the recessed portions of the demons.

Two horrific Vajrapanis guard the rotunda on the outside of the corridor, one on each side of its entrance. Deriving from Indian mythology, the fierce temple protectors with bulging eyes and big mouths, look intimidating, each raising one arm with the hand clenched in a tight fist. The muscular torsos are naked and a skirt is hung at the waist. Exhibiting terrifying strength, they are carved in deep relief and almost appear to stand apart from the wall.

Legend of a Filial Son

In the small village of Moryang-ri on the western outskirts of Gyeongju, there lived a poor woman named Gyeongjo who had an odd-looking son. The villagers made fun of the child as he had a big head and a flat forehead that looked like a wall. They called him Dae-seong, meaning "big wall."

The boy's mother was too poor to feed him so she gave him to a rich neighbor named Bogan as a farm hand. Dae-seong worked so hard that his master was moved and gave him a small piece of a rice paddy. About this time, a virtuous monk named Jeomgae from Heungnyongsa temple, visited Bogan and asked for a donation for a big ceremony at his temple. As Bogan handed him fifty rolls of hemp cloth, the monk bowed in appreciation and said that the Buddha would repay his generosity by blessing him ten thousand times the worth of his donation.

Dae-seong overheard this and ran home and told his mother, "Now we are poor, and if we do not give something to the temple, we will be poorer in our next lives. Why don't we give our little rice field for the ceremony so that we may have a great reward in our afterlives?" His mother readily consented and donated their rice field to the temple.

Dae-seong died a few months later. On the night of his death, a voice from heaven was heard above the house of Prime Minister Kim Mun-ryang. The voice said that Dae-seong, a good boy from Moryang-ri, would be born to Kim's family. Kim's wife conceived at the time the heavenly voice was heard and gave birth to a boy. The child kept his left hand tightly clenched for seven days after his birth. When he opened his fist at last, they found the two characters for Dae-seong written in gold on his palm. They gave him his old name and invited his mother of his previous life to take care of him.

Dae-seong grew up into a strong man who loved hunting. One day he climbed Mt.Tohamsan and there he killed a big bear. As he was sleeping in a village at the foot of the mountain that night, the bear's ghost appeared in his dream and threatened to kill and eat him unless he built a temple for him. Dae-seong built a temple on the spot where he killed the bear and named it Jangsusa, meaning the Temple of Long Life. From that time he gave up hunting.

Dae-seong was moved by the heavenly grace. He built the beautiful Bulguksa in memory of his parents of the present life and the wonderful cave temple of Seokguram for his parents of the previous life. He invited the two distinguished monks Sillim and Byohun to supervise these temples. He had his fathers and mothers represented among the icons at these temples in gratitude for bringing him up as a useful man.

After the great stone Buddha for Seokguram was finished, Dae-seong was working on a large piece of stone for the ceiling of the main hall when it suddenly broke into three pieces. He wept bitterly over this and fell into sleep. During the night, gods descended from heaven and restored the stone to its original condition. Dae-seong awoke with joy and climbed the southern peak of Mt.Tohamsan, where he burned incense and worshiped the deities. People called the place Hyangnyong, or Incense peak, thereafter.

The erudite monk historian lryeon(1206-1289) had the wondrous skill of interweaving legend and fact in his book which serves as an invaluable source of information for students of early Korean history. While most readers of his book today would find it difficult to believe in the reincarnation of Kim Dae-seong, visitors to Seokguram can see crack dividing the round capstone on the

main rotunda's domed ceiling clearly into three pieces. South of the temple, there also exists a peak called Hyangnyong.

Another important history book, Samguk Sagi (History of the Three Kingdoms), compiled by Kim Bu-sik in 1145, identifies the founder of Bulguksa and Seokguram as Kim Dae-seong who served as prime minister in 745-750 under King Gyeongdeok. He was the son of Kim Mun-ryang who was also prime minister in 706-711 under King Seongdeok, according to the oldest extant book on Korean history.

Unsolved Questions of Preservation

Seokguram has had its share of turmoil in Korea's history over the centuries. It lost much of its religious and artistic splendor during the Joseon period (1392-1910) when its Confucian-oriented rulers suppressed Buddhism. The remote mountain grotto was left seriously damaged toward the turn of the century. It underwent repair three times earlier this century under the Japanese colonial government.

The first round of repairs was carried out from 1913 to 1915. Without sufficient study of its structure, the cave was almost completely dismantled and reassembled and a fatal mistake was committed in the process. The entire structure was encased with cement about two meters thick, which resulted in water leaks and erosion of the sculptures because the cave could no longer "breathe."

Seokguram went through considerable "torture" in the name of preservation in the following decades. In 1917, drainage pipes were buried above the dome to channel rainwater out of the cave. As the leaks continued in spite of the pipes, however, another round of repair was conducted in 1920 to 1923.

Waterproof asphalt was applied to the surface of the concrete mass this time. But water continued to leak and dew formed, and in 1927 the Japanese government-general eventually employed the unthinkable method of spraying hot steam on the granite surface to get rid of moss.

As the preservation of Seokguram continued to pose serious problems with high humidity inside the shrine, the government of the late President Park Jeong-hui instructed an in-depth investigation of its structure to be carried out in the early 1960s. Extensive renovation was undertaken based on the study from 1962 to 1964. The problem of temperature and humidity control was resolved to a remarkable extent by using mechanical systems. Nevertheless, the wooden superstructure built over the antechamber remains a mind-boggling question for many who believe Seokguram originally did not have such a structure blocking the magnificent sunrise over the East Sea from the view of Seokgamoni, aside from cutting off the air flow into the cave. A glass wall keeping the visitors from the main chamber is another point of debate regarding the contradiction concepts of the preservation of the shrine and its availability for religious worship and aesthetic appreciation.

Two statues in the niches of the wall of the main chamber and a miniature marble pagoda which is believed to have stood in front of the Eleven-faced Avalokitesvara at the back of the Buddha image remain missing. They disappeared in the early years of Japanese occupation.

Geographically removed from China by Goguryeo to the north and Baekje to the west, Silla was the last of the three ancient Korean Kingdoms to accept Buddhism. But as soon as King Beopheung recognized it as the state religion in 528, it spread quickly through out the country., The 13th century historian

monk, lryeon, wrote that, by the mid-sixth century in Gyeongju and its vicinity, "the golden roofs of temples glittered against the sky like the Milky Way and lotus-crowned pagodas stood in unending lines like flights of wild geese."

All these temples vanished in the turbulent course of history, but the description vividly conveys how enthusiastically the early Buddhists erected temples and pagodas around the capital of their thriving kingdom. Today, Bulguksa offers a glimpse of the splendor of Silla's state temples, although all of its present wooden shrines are in the much later Joseon style and much of its antique flavor was lost in massive rehabilitation work carried out in the 1970s.

Lee Kyong-hee, World Heritage in Korea (Seoul: Organizing Committee for thr Year of Cultural Heritage 1997 & Samsung Foundation of Culture, 1997)

Changdeokgung

Located in Seoul, the capital of the Republic of Korea, Changdeokgung Palace was built during the Joseon Dynasty(1395 - 1910) and has more buildings preserved than any other palace from that period. The palace is designated as Historical Site No. 122 and covers a total area of 580,000 square meters, although the main palace grounds which do not include the Secret Gardens cover an area of 120,000 square meters.

The capital of the Joseon Dynasty was moved from Gaeseong in the north to Hanyang(today's Seoul) in 1392, but construction of the palace actually began in October of 1404 during the 4th year of the reign of King Taejong. Construction of the main building Jeongjeon began in February of 1405 and was completed in October of the same year.

From then on, the palace was called Changdeokgung or "Palace of Prospering Virtue." Since the palace was located in the east of the existing palace, Gyeongbokgung, it was often referred to as "East Palace."

The current palace grounds are somewhat larger than the original grounds, since succeeding kings often had additions made during the palace's long history, and Changdeokgung palace was a favorite place of the kings during the dynasty. Although Gyeongbokgung Palace was in fact larger, Changdeokgung was a favorite of the kings because it was the most purely Korean of all the palaces.

Gyeongbokgung Palace was built on level ground and served the official functions of a palace. It was built according to planning and specifications for an official residence to meet the requirements of the capital city. Changdeokgung Palace, however, was designed and built according to more Korean specifications handed down from the Three Kingdoms Period, and consequently retained much more that was uniquely Korean.

After the Japanese Occupation which began in 1910 however, parts of the palace grounds were rearranged, partially destroyed, and even taken to Japan. As with the other palaces, Changdeokgung Palace also had many of its auxiliary buildings removed, and in general the grounds lost much of their authenticity. Changdeokgung Palace was ideally located, however: to the east was Changgyeonggung Palace, to the southeast was Jongmyo (site of the royal family's ancestral tablets and memorial shrines), and to the west was the official residence,Gyeongbokgung Palace.

The main structures of Changdeokgung Palace include the gate, Donhwamun, the beautiful granite bridge Geumcheongyo, and Injeongjeon which served for official state functions. Seonjeongjeon was used for affairs of state between the king and his ministers. Daejojeon served as the queen's guarders as well as the king's sleeping quarters, and as educational quarters for the princes. The original quarters were destroyed on several occasions, and during the Japanese Occupation the existing quarters became somewhat westernized. The current quarters are a combination of both Korean and western styles.

Other major buildings on the palace grounds included Hamwonjeon, Gyeonghungak, Gajeongdang, Eochago, Naeuiwon and Seongjeonggak, Gwanmulhon, the old Seonwonjeon, Nakseonje, Chwiwunjeong, Hanjeongdang, Sangnyangjeong, Manwolmun, Sunghwaru, Samsamwa, and Chilbunso.

A particularly distinctive feature of Changdeokgung Palace is the fact that it was built with minimum effect on the natural environment and designed to harmonize with nature as completely as possible. Buildings were designed and constructed to blend easily with the immediate surroundings and even directions were given for careful consideration in planning and building. Space was utilized to provide distinctly different atmospheres throughout the grounds. Also, careful consideration was given to provide continuous yet different views from each site on the grounds.

At the same time, however, the grounds retained a great deal of privacy for palace life, as evidenced by the small number of entrances. But there is a large number of artifacts which have been preserved to inform us of life in the inner world of the palace. And even today, Changdeokgung Palace remains the most Korean of all palaces

Temple of Reflections on aCalm Sea

A great majority of Korean Buddhist temples are located in the mountains. They are normally reached after trekking along scenic valleys with many old trees and clean streams. The trees change color from season to season and birds sing different songs according to the hour of the day. Therefore, walking up to the temple often serves as a ritual for purifying one's soul, escaping the mundane world and thinking about life and the laws of nature.

The Hongnyudong valley leading up to Haeinsa in Mt. Gayasan offers greater pleasure and opportunities for deeper thought than the entryways to most other Buddhist temples in the country. Sublime is the beauty of the 4-km-long valley, a verdant tunnel of

old pines and numerous deciduous trees, rugged cliffs and wild streams. Legend has it that two monks, Suneung and Ijeong, who had just returned from China where they attained enlightenment, were meditating somewhere in the valley when the queen of a Silla king, Aejangwang, fell very ill with an abscess on her back. As all medicines had proved useless, the king sent his officials throughout the country to seek the wisdom of revered monks. When one of the officials reached this valley, he saw mysterious radiance emanating from the two meditating monks. He asked them to accompany him to the palace but they refused and instead gave him a spool of thread in five colors. The monks told him to tie one end of the thread to the queen and the other to a pear tree in front of the palace. The man followed their advice and the queen was cured whereas the pear tree dried up and died. The grateful king had a temple erected in the valley for the two monks and donated farm land. It was 802, the third year of the reign of Aejangwang.

For those who find the legend hard to believe, Choe Chi-won, a prominent writer and calligrapher of Silla, who spent his last days in self-imposed exile in Mt. Gayasan, provides a more credible story regarding the foundation of the temple. In his essay about Haeinsa dating from 900, Choe wrote that the temple was erected in 802 by Suneung who attained enlightenment in China. The queen dowager, who supported Buddhist monks with as much affection as if they were her own sons, was so pleased to hear the news that she converted to Buddhism herself and presented good food and various other gifts. Numerous students gathered like clouds at the temple, but Suneung died suddenly. Then his disciple, Ijeong, who was also an eminent monk, inherited his work and completed the construction.

The temple history confirms that Suneung was a disciple of Sillim who in turn was a disciple of Uisang, the first to propagate the

Avatamsaka school of Buddhism in Korea in the early seventh century. Unlike the main worship halls of most other Korean temples enshrining the Seokgamoni images, Haeinsa's main shrine, Daejeokkwangjeon, or the Hall of Great Silence and Light, is dedicated to Vairocana, the Resplendent Buddha, who first preached the Avatamsaka Sutra. The hall has an image of Vairocana attended by two bodhisattvas featured in the sutra, Manjusri and Samantabhadra.

Vairocana, one of the five celestial Buddhas, represents the center of the universe and is indicated by his gesture of preaching and the symbol of the wheel of law. The five celestial Buddhas are the concrete manifestations of Seokgamoni, each representing, the center or the four compass points of the universe. The main theme of the Avatamsaka Sutra is the meaning of true enlightenment. It relates the travels of the young boy, Sudhana, in search of enlightenment. He is assisted by numerous spiritual friends along the way, all belonging to different walks of life, and eventually attains truth with the guidance of Manjusri, the Glorious Gentle One. In the end, the devotee makes a pious vow to follow the exemplary conduct of Samantabhadra. The basic work of the Avatamsaka school, which has had a broad following in all of three Far Eastern countries of China, Korea and Japan, the Avatamsaka Sutra is said to have been first preached by Vairocana, the Resplendent Buddha, expressing the perfect truth revealed in his enlightenment. Its main doctrine is the theory of causation-- that there is a universal, immutable mind that is the basis of all phenomena. It teaches harmony with the totality of things encountered in the perfectly enlightened Buddha. The Buddha-nature is present potentially in all things. The Tripitaka Koreana earned Haeinsa its reputation as one of Korea's three major temples representing the "three jewels of Buddhism." Haeinsa stands for Dharma, or the Buddha's teaching. Tongdosa in Yangsan, South Gyeongsang Province, symbolizes

the Buddha as it enshrines the Sarira, or the holy relics, of Seokgamoni. Songgwangsa in Seongju, South Jeolla Province, represents Sangha, or the assembly of monk devoted to studying, teaching and preserving the teachings of the Buddha. Haeinsa is also the head temple of the 12th Diocese of the Korean Buddhist Jogye Order, the largest Buddhist sect in the country.

Haeinsa underwent its first major renovation in the early 10th century while the famous monk, Hirang, was serving as the chief abbot. The renovation was financed with a generous donation by Wang Geon, the founding monarch of the Goryeo Dynasty, in reward for the monk's assistance in subduing his enemy. Wang Geon patronized Haeinsa, keeping important government documents in the temple and sponsoring seasonal rites and special masses. Hirang, not only a revered monk but an accomplished artist as well, is known to have carved a wooden image of himself at the temple. A realistic image of the monk, seated with his two hands clasped on crossed legs, is now preserved at one of the temple's 16 hermitages.

The second major renovation, probably much bigger than the first, was carried out in the late 15th century under the patronage of two Joseon queens, Insu and Inhye, both daughters-in-law of King Sejo. Originally, Sejo wanted to renovate the temple after printing 50 copies of the Tripitaka but he died without fulfilling his wish. His wife, Queen Jeonghi, hoped to fulfill his wish but she died too in 1483, without putting her plan into practice. Their two daughters-in-law finally accomplished the project under the supervision of the senior monk, Hakcho. The main shrine as well as the depositories for the Tripitaka and various other buildings were newly constructed at the time, so the temple obtained its present scale and ambience. The renovation was completed in 1490. Owing to its sequestered location guarded by rough terrain, Haeinsa fortunately escaped the rampant arson by Japanese

troops during the Hideyoshi invasions in 1592-1598, which devastated much of the country, destroying almost all wooden palace and temple buildings. But fire erupted at Haeinsa seven times over two centuries from 1695 to 1871, burning down most of the building that had existed since the 15th century renovation. The buildings have all been reconstructed over the years, and the temple maintains much of its ancient magnificence.

Haeinsa has been the center of activities for a number of prominent monks. Uicheon, or National Preceptor Daegak, a Goryeo prince who compiled the Supplement to the Tripitaka, once resided at the temple. Royal Preceptor Wongyeong, who traveled to China with Uicheon to study Buddhism, assisted him in compiling the scriptures by proofreading the texts. A stone stele for Wongyeong stands near the entrance to the temple. Samyong, who led a monk militia during the 16th century Japanese invasion, died at Hongje-am hermitage, where a bell-shaped stupa containing his remains now stands. In the 20th century, Seongcheol who headed the Jogye Order, resided at Paengnyonam hermitage and died there.

Wondangam hermitage, with its exquisite stone relics dating from the Unified Silla period, adds romantic color to the temple famed for its serious academic tradition and the stern regulations of its Bhikkhus community. Queen Jinseong(r. 887-897) of Silla designated Haeinsa as the tutelary temple for her lover and high courtier, Wihong, when he died In 888. She even abdicated the throne in the 11the year of her reign and moved to the temple, where she died later that year. The two lovers are credited for compiling an anthology of Silla native songs, called Hyangga.

Bulguksa Temple [UNESCO World Heritage]

Bulguksa Temple [UNE...

Address

Gyeongsangbuk-do Gyeongju-si Jinhyeon-dong 15-1

Type

Temples

Inquiries

• 1330 tt call center: +82-54-1330 (Korean, English, Japanese, Chinese) • For more info: +82-54-746-9933

Homepage

www.bulguksa.or.kr (Korean only)www.jikimi.cha.go.kr/english (Korean, English)

Introduction

Bulguksa Temple is the representative relic of Gyeongju and was designated as a World Cultural Asset by UNESCO in 1995. The beauty of the temple itself and the artistic touch of the stone relics are known throughout the world.

Bulguksa Temple was built in 528 during the Silla Dynasty, in the 15th year of King Beop-Heung's reign (514-540). The temple was originally called ‘Hwaeom Bulguksa Temple’ or ‘Beopryusa Temple’ and was built by Kim Dae-Seong (700-774), who started building the temple in 751 during the reign of King Gyeong-Deok

(in power 742-765) and completed it in 774 during the reign of King Hye-Gong (in power 765-780). Upon completion, the temple’s name was changed to ‘Bulguksa.'

Bulguksa underwent numerous renovations from the Goryeo Dynasty (918-1392) to the Joseon Dynasty (1392-1910), but was burned down during the Imjinwaeran War (the war following the Japanese Invasion, 1592-1598).

Reconstruction started again in 1604 during the 37th year of King Seon-jo’s reign (Joseon Dynasty) and was renovated about 40 times until 1805 (during the reign of King Sun-Jo, 1790-1834). After this time, the temple suffered serious damage and was often the target of robbers.

In 1969, the Bulguksa Temple Restoration Committee was formed and in 1973, Mulseoljeon, Gwaneumjeon, Birojeon, Gyeongru, and Hoerang (all of which had previously been demolished) were rebuilt. Other old or broken sites (such as Daewungjeon, Geukrakjeon, Beomyeongru and Jahamun) were repaired.

Even today, Bulguksa Temple is home to many important cultural relics such as Dabo-tap (National Treasure No. 20), Sukga-tap (National Treasure No. 21) Yeonhwa-gyo* Chilbo-gyo (National Treasure No. 22), Cheongun-gyo,* Baekun-gyo (National Treasure No. 23), the Golden Seated Vairocana Buddhist Figure (National Treasure No. 26), the Golden Seated Amita Figure (National Treasure No. 27), and Sari-tap (National Treasure No.61).

The Dabotap (Many Treasure Pagoda) and Seokgatap (Sakyamuni Pagoda) are two of the most valued pagodas in Korea. Designated as Korean National Treasures in 1962, Dabotap (10.4 meters tall) and Seokgatap (8.2 meters tall), stand on the east and west sides of the yard separating Daeungjeon (the hall

housing the Shakyamuni Buddha) and Jahamun (Mauve Mist Gate).

The three-story Seokgatap, on the east, has two stereobates (stone foundation levels) and is crafted in traditional Korean style. Dabotap is an octagonal pagoda standing on a cruciform base with stone staircases on all four sides and a railing. Given its superb craftsmanship, it is difficult to believe that it was constructed of stone. Unlike Seokgatap, Dabotap has survived the passage of time with its original structure still intact. Both serve as outstanding examples of 8th-century Unified Silla architecture and skillfully balance square, octagonal, and circle forms in one design.

Moving between Daeungjeon and Geungnakjeon (both prayer halls), visitors cross the Cheongungyo (Blue Cloud Bridge) and Baegungyo (White Cloud Bridge) to the east, and Yeonhwagyo (Lotus Flower Bridge) and Chilbogyo (Seven Treasure Bridge) to the west. Cheongungyo and Baegungyo are actually stairways, not bridges. The lower staircase, Cheongungyo, has 17 steps and the upper staircase, Baegungyo, has 16. These steps lead to Jahamun, which is the gate to Daeungjeon (Sakyamuni Buddha Hall). These bridge-like stairways symbolically connect the earthly world below and the world of Buddha above. Some say that they symbolize man’s journey from youth to old age.

An 18-step stone staircase to the west leads to Anyangmun (Pure Land Gate). The lower 10 steps are called Yeonhwagyo, while the upper eight steps is called Chilbogyo. It is said that only those who reached enlightenment could use these stairs. Both structures are smaller than Cheongungyo and Baegungyo, but are similar in design and structure. Most of the lotus-blossom carvings that graced Yeonghwagyo have been lost over time and the passage is currently restricted to visitors.

Beomyeongnu (Pavilion of Mount Meru) is on the left when you standing facing Cheongungyo and Baegungyo,. Originally built in 751 CE, the pavilion was damaged in 1593 by the Japanese during the Imjin War and was restored through two separate projects during the Joseon Dynasty. The structure was restored again in 1973, which resulted in the current structure that is smaller than the original. The pavilion has a wide lower portion, a narrower middle section, and an upper portion that is the same width as the base. Particularly unique are the stacked pillars, using 8 differently shaped stones, and their placement, facing each of the four cardinal directions. Today, the pavilion houses a drum atop a turtle structure.

Telephone

+82-54-746-9913

Current Status

National Cultural Heritage Scenic spots, Historical sites No.1

Closed

N/A (Open all year round)

Operating Hours

07:00 - 18:00

Parking Facilities

Available * Parking Fees - small 1,000 won / large 2,000 won

Admission Fees

Adults (ages over 19): 4,000 won Youths (ages 13-18): 3,000 won / Group 2,500 won Children (ages 7-12): 2,000 won / Group 1,500 won Children (ages under 7): Individual Free / Group 1,000 won * Groups - 30 or more people

Facilities for the Handicapped

Free wheelchair rental service, reserved parking, restrooms, and wheelchair accessible entrance

Interpretation Services Offered

English, Japanese, Chinese

Baby Stroller Rentals

Available (free)

Directions

Gyeongju Intercity Bus Terminal, Express Bus Terminal or Gyeongju Train Station Take Bus 10 or 11 for Bulguksa Temple Get off at Bulguksa Temple.

Bus ride: approx. 40 minutes Taxi: takes 20-25 min. from the station

Haeinsa Temple Janggyeongpanjeon Hall [UNESCO World Heritage]

Haeinsa Temple Jangg...

Address

Gyeongsangnam-do Hapcheon-gun Gaya-myeon Chiilli 10

Type

Temples

Inquiries

• 1330 tt call center: +82-55-1330 (Korean, English, Japanese, Chinese) • For more info: +82-55-934-3000

Homepage

jikimi.cha.go.kr/english(Korean, English)

Introduction

Haeinsa Temple was built in 802 AD and is regarded as one of Korea’s three major Buddhist temples along with Tongdosa and Songwangsa. Of the numerous temple halls, most were built in the modern era, with only Janggyeongpanjeon Hall from the early Joseon Dynasty remaining in its original state. However, the temple holds great significance not only for its structure, but also for the treasure it holds inside.

Janggyeongpanjeon is a wooden building housing the 13th-century Goryeo Palman Daejanggyeong (the Tripitaka Koreana), a priceless world treasure. The Tripitaka Koreana is a large set (thousands and thousands) of wood blocks that were specially treated to prevent aging and inscribed with the Buddhist canon. It is the oldest and most complete version of the Buddhist canon and is one of the most cherished Buddhist doctrinal collections in the world.

Janggyeongpanjeon is comprised of two buildings Sudarajeon to the south and Beopbojeon to the north. Unadorned by decorations or paintings, the buildings carry out the sole function of storing the Tripitaka Koreana wooden tablets. The building has been praised by scientists for its effective air circulation, resistance to moisture, and temperature control – all of which have enabled the Tripitaka Koreana to survive throughout the years. Although the exact date of Janggyeongpanjeon’s construction is still unknown, the hall was built under the order of King Sejo in 1488. It has never suffered the effects of fire or war.

In recognition of its architectural beauty and its extraordinary scientific preservation of the world’s only Tripitaka, Janggyeongpanjeon of Haeinsa Temple was listed as a UNESCO World Cultural Heritage in 1995.

Current Status

National Treasure No.52 (as of December 20, 1963)

Operating Hours

08:30-17:00

Parking Facilities

Available: 4,000 won for small vehicles / 6,000 won for large vehicles

Admission Fees

＊ Individual: Adults 2,000 won / Youths 1,000 won / Children 700 won

＊Group: Adults: 1,800 won / Youths 800 won / Children 500 won

Pets

Not permitted

Directions

From Haeinsa interchange at the 88 Olympic Highway, go towards Gayasa Mt. direction taking No.1033 a locality road and then towards North direction for about 14km.

* Bus/ Daegu North Bus Terminal->Haeinsa Direction (Get off at the last stop) bus runs every 20mins, takes 1hr

Related Tour PackagesData not foundSeokguram Grotto (Mt. Tohamsan) [UNESCO World Heritage]

Seokguram Grotto (Mt...

Address

Gyeongsangbuk-do Gyeongju-si Jinhyeon-dong 999

Type

Temples

Inquiries

• 1330 tt call center: +82-54-1330 (English, Korean, Japanese, Chinese) • For more info: +82-54-746-9933 (English, Korean)

Homepage

www.sukgulam.org (Korean only)jikimi.cha.go.kr/english (Korean, English)

Introduction

Seokguram, located on Mt.Tohamsan, is the representative stone temple of Korea.

The official name of Seokguram, National Treasure No. 24, is Seokguram Seokgul. Designated as World Cultural Heritage Site by UNESCO in 1995, it is an artificial stone temple made of

granite. The construction started with Kim Dae-Seong (700~774) in 751 during the reign of King Gyeong-Deok (742~765) of the Silla Dynasty (57 B.C.~A.D. 935) and it was finished twenty-four years later in 774, during the reign of King Hye-Gong (765~780).

Seokguram is known to have been built with Bulguksa Temple. According to the history book Samgukyusa of the Goryeo Dynasty (the country that unified the Korean peninsula at the end of the Silla Dynasty, 918~1392), Kim Dae-Seong had built Bulguksa for the parents who were alive, and Seokguram for the parents of his former life.

Seokguram is an artificial stone temple made of granite, and is located on the eastern peak of Mt. Toham. Inside the round-shaped main hall, there are the Bonjon Statue, Bodhi-sattva and his disciples. Seokguram was built to preserve these statues. The Bonjon figure wearing a generous smile is seated on the stage engraved with lotus flower design. The rounded ceiling looks like a half-moon or a bow and has a lotus flower decorated cover on it. As the sunrise from this spot is so beautiful, many people climb the mountain at daybreak.

Fax

+82-54-748-7066

E-Mail

[email protected]

Current Status

National Treasure No.24

Closed

N/A (Open all year round)

Tour Course Information

To truly appreciate the magnificence of Seokguram Grotto, visitors may want to visit Silla Arts and Science Museum in Gyeongju Folk Craft Village. In the museum, visitors can see a miniature model of the grotto to learn about its construction and maintenance as well as the technologies behind them. The museum also shows the inside of the grotto through a model, which is an area not open to the public.

Operating Hours

February-March, October 07:00-17:30 March-September 06:30-18:00 November-January 07:00-17:00

Parking Facilities

Available * Parking Fees (S) 1,000 won / (M) 2,000 won / (L) 4,000 won

Admission Fees

Adults (ages over 19): 4,000 won Youths (ages 13-18): 3,000 won / Group (more 30) 2,500 won Children (ages 7-12): 2,000 won / Group (more 30) 1,500 won Children (ages under 7) Individual: Free / Group (more 10) 1,000 won

Interpretation Services Offered

Korean Culture & Tourism Guide: English, Japanese, Chinese

Directions

From Gyeongju Intercity/ Express Bus Terminal or Gyeongju Station. Take Bus 10 or 11 at the opposite side of the station/terminal. Get off at Bulguksa Temple.

Take the Seokguram tour bus from Bulguksa Temple to Seokguram Grotto. (1 hour intervals)

Kuil BulgukDari Wikipedia bahasa Indonesia, ensiklopedia bebas

Langsung ke: navigasi, cari Seokguram Grotto and Bulguksa*Situs Warisan Dunia UNESCO

Negara Peserta Korea SelatanTipe KulturalKriteria i, ivReferensi 736Wilayah† Asia-PasifikSejarah prasasti

Prasasti resmi 1995 (sesi Ke-19)* Nama resmi dalam Daftar Warisan Dunia.† Menurut klasifikasi resmi UNESCO.

Bulguksa atau Kuil Bulguk (佛國寺; "Kuil Negeri Buddha") adalah kuil Buddha utama dari Sekte Jogye. Bulguksa terletak di Gyeongju, Provinsi Gyeongsang Selatan, Korea Selatan. Kuil ini begitu penting karena merupakan situs peninggalan bersejarah sejak zaman kerajaan Silla, serta menyimpan 7 buah harta nasional Korea Selatan yang masih terawat dengan baik. Bulguksa dikategorikan sebagai Situs Bersejarah dan Indah No.1 oleh pemerintah Korea Selatan.[1] Bersama dengan Seokguram, tempat ziarah di Gunung Toham, Bukguksa menjadi Situs Warisan Dunia UNESCO pada tahun 1995.

Kuil Bulguk didirikan pada tahun 751 pada masa pemerintahan Gyeongdeok dari Kerajaan Silla dan pembangunanya dikonstruksikan oleh perdana menteri Kim Daeseong. Pembangunannya selesai pada tahun 774, setelah kematian Kim dan dinamakan Bulguksa. Kuil Bulguk direnovasi pada zaman Goryeo dan awal Dinasti Joseon. Namun pada masa Invasi Jepang tahun 1592-1598, ia tak luput dari kehancuran. Rekonstruksi kembali dilakukan sebanyak 40 kali antara tahun 1604 sampai tahun 1805. Renovasi juga dilakukan pada zaman penjajahan Jepang, namun beberapa buah harta kuil dikabarkan lenyap.

Restorasi setelah Perang Dunia II dan Perang Korea dilaksanakan pada tahun 1966. Barulah antara tahun 1969 dan 1973, almarhum Presiden Park Chung Hee memulai upaya restorasi dan perbaikan besar-besaran hingga strukturnya menjadi seperti yang sekarang ini. Bagian-bagian pagoda batu dikembalikan bentuknya seperti sediakala.

Kuil Bulguk berada di kaki Gunung Toham dan saat ini menjadi kuil utama distrik ke-11 dari Sekte Jogye.Daftar isi [sembunyikan] 1 Struktur2 Galeri3 Lihat pula4 Referensi5 Pranala luar

[sunting]Struktur

Gerbang masuk ke kuil adalah Sokgyemun. Gerbang Sokgye dan tangga batu menuju kuil adalah arsitektur unik yang merupakan bagian dari harta nasional nomor 23. Tangga bawah dinamakan Cheong-ungyo ("Jembatan Awan Biru"), panjangnya 6,3 meter dan berjumlah 17 buah pijakan. Jembatan atas dinamakan Baek-ungyo ("Jembatan Awan Putih"), panjangnya 6,3 meter dan pijakannya berjumlah 16 buah. Pijakan kedua jembatan ini berjumlah 33, yang melambangkan 33 tahap pencerahan dalam ajaran Buddha. Jembatan ini mengarah ke pintu Gerbang Jaha.

Bulguksa mempunyai dua buah pagoda batu, Seokgatab dan Dabotab. Seokgatab disebut juga dengan "Pagoda Sakyamuni" memiliki 3 tingkap, tingginya 8,2 meter. Arsitektur Seokgatab lebih sederhana daripada Dabotab karena tidak banyak terdapat ukiran. Pagoda seperti ini merupakan tipikal pagoda di sebagian besar kuil Buddha di Korea, namun berbeda dengan Dabotab yang merupakan pagoda satu-satunya di Korea yang memiliki arsitektur kaya ornamen. Dabotab atau "Pagoda Berlimpah Harta" memiliki tinggi 10,4 meter. Kedua pagoda ini merupakan harta nasional nomor 20 dan 21.

Daeungjeon, atau "Aula Pencerahan Agung" adalah aula utama Bulguksa. Aula Daeung menyimpan patung Buddha Sakyamuni yang disepuh emas. Di bagian belakang aula utama terdapat Aula

Museol. Aula penting lainnya adalah Gwaneumjeon atau "Aula Dewi Kwan-Im". Gwaneumjeon berdampingan dengan Aula Biro yang menyimpan harta nasional nomor 26, patung Buddha Wairocana dalam posisi duduk. Geuknakjeon ("Aula Kebahagiaan Tertinggi") menyimpan patung Buddha Amitabha yang disepuh emas. Patung Buddha ini merupakan harta nasional nomor 27.

Stupa Sarira (사리탑) adalah harta nasional nomor 61, merupakan tempat yang berbentuk lentera batu yang menyimpan relik pendeta atau anggota kerajaan. Sarira tersebut berasal dari zaman Goryeo, namun memperlihatkan pengaruh seni Silla. Stupa Sarira berada di sebelah kiri taman Aula Biro. Stupa ini pernah dibawa ke Jepang pada tahun 1906, namun dikembalikan pada tahun 1933.

HaeinsaDari Wikipedia bahasa Indonesia, ensiklopedia bebas Belum Diperiksa Langsung ke: navigasi, cari Haeinsa Janggyeong Panjeon, perpustakaan Tripitaka Koreana*Situs Warisan Dunia UNESCO

Negara Peserta Korea SelatanTipe KulturalKriteria iv, viReferensi 737Wilayah† Asia-PasifikSejarah prasastiPrasasti resmi 1995 (sesi Ke-19)* Nama resmi dalam Daftar Warisan Dunia.† Menurut klasifikasi resmi UNESCO.Korean name

Hangeul 해인사Hanja 海印寺Alih Aksara yang Disempurnakan Haeinsa

McCune–Reischauer Haeinsa

Haeinsa atau Kuil Haein adalah kuil Buddha utama dari sekte Jogye di Korea Selatan dan menyimpan Tripitaka Koreana, cetakan Tripitaka kayu yang berjumlah 81.258 pres kayu sejak tahun 1398.[1] Sebagai salah satu Tiga Kuil Mustika, Haeinsa melambangkan Dharma.

Haeinsa dan perpustakaan untuk pres kayu Tipitaka Koreana, dimasukkan oleh UNESCO sebagai bagian dari Situs Warisan Dunia pada tahun 1995, sementara Tripitaka Koreana secara khusus dihargai sebagai Memory of the World Register (Warisan Pustaka Dunia) pada tahun 2007.

Haeinsa terletak di puncak Gunung Gaya, propinsi Gyeongsang Selatan. Sampai meninggalnya ia pada tahun 1993, biksu Seongcheol yang berpengaruh dalam perkembangan Buddhisme di Korea tinggal di sini.

Sejarah pembangunan Haeinsa dimulai tahun 802 pada masa kerajaan Silla. Menurut legenda, dua orang biksu yang kembali dari Tiongkok, Suneung dan Ijeong berhasil menyembuhkan penyakit permaisuri Raja Aejang[1]. Sebagai rasa syukur kepada Buddha, raja membangun kuil ini.

Komplek kuil direnovasi beberapa kali tahun 900-an, 1488, 1622, dan 1644. Hirang, biksu kepala Haeinsa, mendapat bantuan dari Raja Taejo untuk melakukan renovasi pada zaman Goryeo. Haeinsa terbakar pada tahun 1817 dan aula utama dibangun lagi tahun 1818.[1] Pada renovasi tahun 1964 ditemukan jubah Raja Gwanghaegun yang melakukan renovasi pada tahun 1622.

Aula utama, Daejeokkwangjeon, difungsikan sebagai tempat pemujaan Wairocana berbeda dengan kebanyakan kuil Buddha di Korea yang menempatkan Shakyamu

Istana ChangdeokDari Wikipedia bahasa Indonesia, ensiklopedia bebas Belum Diperiksa Langsung ke: navigasi, cari Istana Changdeok

Hangeul 창덕궁Hanja 昌德宮Alih Aksara yang Disempurnakan ChangdeokgungMcCune–Reischauer Ch'angdŏkkungKomplek Istana Changdeokgung*Situs Warisan Dunia UNESCO

Changdeokgung Injeongjeon Negara Peserta Korea SelatanTipe BudayaKriteria ii, iii, ivReferensi 816Wilayah† Asia-PasifikSejarah prasastiPrasasti resmi 1997 (sesi 21st)* Nama resmi dalam Daftar Warisan Dunia.† Menurut klasifikasi resmi UNESCO.

Istana Changdeok adalah istana Dinasti Joseon di Seoul.[1] Terletak di sebelah timur istana utama (Istana Gyeongbok), dijuluki Donggung (Istana Timur).[2] Changdeokgung bermakna "Istana Kebajikan Gemilang".[2]

Sebagai istana utama, Istana Gyeongbok merupakan pusat pemerintahan yang dikelilingi oleh kuil leluhur, altar kurban dan

kantor-kantor pemerintahan.[3] Namun, istana yang disukai dan ditempati lebih lama adalah Changdeok.[3] Saat Dinasti Joseon berakhir pada tahun 1910, Istana Changdeok dijadikan aset pemerintah dan dibuka untuk umum.[3]

Sampai kini, komplek ini dikagumi karena mewarisi elemen-elemen arsitektur Zaman Tiga Kerajaan yang harmonis dengan alam.[3] Metode seperti ini tidak ditemui dalam pembangunan Istana Gyeongbok.[3] Bersama Benteng Hwaseong, Istana Changdeok dilestarikan sebagai Situs Warisan Dunia UNESCO pada tahun 1997.[4]Daftar isi [sembunyikan] 1 Sejarah2 Arsitektur 2.1 Gerbang Donhwa2.2 Gerbang Jinseon2.3 Aula Injeong2.4 Aula Seonjeong2.5 Ruang Daejo2.6 Balai Huijeong2.7 Nakseonjae2.8 Huwon3 Lihat pula4 Pranala luar5 Referensi

[sunting]Sejarah Donggwoldo, lukisan Istana Changdeok dan Istana Changgyeong, 1826-1830.

Didirikan pada tahun 1405, Istana Changdeok awalnya adalah villa atau balai angin (igung).[2] Istana seperti ini biasanya hanya digunakan sebagai kediaman sementara saat raja ingin beristirahat dari kegiatan rutin.[2] Sebagian besar dibangun jauh

dari ibukota, terutama di daerah-daerah dengan pemandangan indah.[2] Namun begitu, Changdeok adalah satu-satunya villa yang terletak dalam ibukota, hanya berjarak 1 km dari Istana Gyeongbok. Kebiasaan membangun villa dalam kota seperti ini bermula semenjak zaman Dinasti Goryeo.[2]

Karena Istana Changdeok pada awalnya dibangun sebagai villa, bangunannya tidak luas dan fasilitasnya diutamakan untuk kemudahan raja.[2] Ketika perannya semakin meningkat untuk acara-acara resmi, kompleknya diperluas dan jumlah bangunan ditambah.[2]

Selama 200 tahun pertama, Istana Changdeok tidak terpengaruh masalah-masalah politik yang terjadi di istana utama.[2] Saat kehidupan raja sedang tenang, ia akan pergi ke Istana Changdeok.[2] Pada periode ini, lokasi yang jadi favorit raja adalah Gwangyeollu ("Pendopo Luas"), yang sudah didirikan sejak awal. Raja Taejong sering mengadakan jamuan untuk para pejabat istana Gwangyeollu dan menonton gyeokgu (polo) dari sini.[2] Dapat disimpulkan bahwa dahulu, Gwangyeollu berada di depan lapangan luas. Selama 100 tahun, Gwangyeollu dimanfaatkan sebagai tempat bersantai-santai. Namun pada abad ke-16, bangunan ini mulai lapuk dan tak terawat, kemudian dirobohkan dan tak pernah dibangun lagi.[2]

Istana Changdok musnah terbakar dalam peristiwa Perang Imjin pada tahun 1592.[5] Pembangunan kembali dilakukan pada tahun 1609, kali ini untuk menggantikan Istana Gyeongbok sebagai istana utama. Bangunan-bangunannya direkonstruksi di posisi semula dengan struktur dasar dan nama yang sama dengan sebelumnya.[2]

Sebenarnya Istana Changdeok sulit untuk dijadikan sebagai istana utama kareana awalnya tidak dirancang untuk mendukung upacara-upacara formal atau penyambutan utusan asing.[2]

Halaman depan aula utama terlalu sempit dan pendopo untuk bersenang-senang tidak cukup leluasa menjamu tamu-tamu.[2] Walau terkendala dengan hal-hal ini, keluarga kerajaan tetap menggunakan Istana Changdeok tanpa merombaknya sedikit pun. Hal itu dikarenakan tradisi yang menghindari perusakan terhadap hasil karya leluhur.

Dalam periode 250 tahun dari abad ke-17 sampai pertengahan abad ke-19, Istana Changdeok mengalami beberapa kali musibah kebakaran serius.[2] Pada tahun 1621, terjadi kebakaran yang disebabkan peristiwa Pemberontakan Yi Gwal.[2]

Pada tahun 1830, sebuah kebakaran lain terjadi menghanguskan bangunan-bangunan di bagian dalam istana yang bermula dari ondol yang tertiup angin.[2] Sistem ondol yang digunakan pada musim dingin untuk menjaga kehangatan ruangan-ruangan merupakan resiko yang sulit dihindari.[2] Setelah kebakaran, bangunan-bangunannya selalu direkonstruksi kembali seperti bentuk asli sehingga rancangan dasar masih terus terpelihara sampai sekarang.[2]

Perombakan besar terakhir dilakukan pada awal abad ke-20. Setelah restorasi Istana Gyeongbok, Istana Changdeok sudah terabaikan cukup lama. Saat kaisar Sunjong naik tahta, ia kembali ke Istana Changdeok dan merubah penampilannya. Pada saat itu, Korea sudah jatuh ke tangan Jepang. Di dalamnya ditambahkan dengan lampu listrik dan dekorasi terbaru. Dengan kematian Kaisar Sunjong pada tahun 1927, banyak bangunan Istana Changdeok dirubuhkan dan kompleknya dibuka sebagai taman umum. Sampai tahun 1970-an pun istana ini hanya sedikit mengalami perubahan. Restorasi dan perbaikan besar dimulai sejak tahun 1980. Dari tahun 1990-an sampai 2000, beberapa bangunan yang diruntuhkan dibangun kembali sehingga Istana Changdeok sekarang sedikit demi sedikit telah kembali ke penampilan aslinya.

[sunting]Arsitektur[sunting]Gerbang Donhwa Gerbang Donhwa

Donhwamun (Gerbang Donhwa) adalah gerbang utama Istana Changdeok, bermakna "Gerbang Transformasi Kebenaran". Merupakan struktur tertua sejak tahun 1609 setelah pembangunan kembali dari kehancuran Invasi Jepang. Tidak seperti istana lain di Seoul yang memiliki 3 koridor masuk, Donhwamun memiliki 5 lorong, namun 2 di ujung kanan dan kiri terhadang tembok. Jadi hanya 3 lorong yang bisa dilewati. Melalui gerbang, ada halaman luas dengan kali mengalir di sebelah kanan (timur). Melewati kali ada jembatan batu yang bernama Geumcheongyo.[sunting]Gerbang Jinseon

Jinseonmun (Gerbang Jinseon), bermakna "Gerbang Kebajikan dan Kemajuan", merupakan gerbang masuk istana bagian dalam. Daerah yang berada di dalam lingkup Jinseonmun dikelilingi oleh tembok dengan bentuk yang tidak simetris. Di seberang Gerbang Jinseon berdiri Gerbang Sukjong (Sukjongmun). Di antara kedua gerbang di kiri dan kanan, di tengah-tengah terdapat jalan yang mengarah ke utara menuju gerbang besar bernama Injeongmun (Gerbang Injeong). Gerbang Injeong adalah pintu masuk ke aula utama bernama Injeongjeon (Aula Injeong).[sunting]Aula Injeong Aula Injeong

Aula Injeong yang berdiri sejak tahun 1805 adalah bangunan dengan atap tumpang 2. Aula Injeong berdiri di atas landasan batu setinggi 2 tingkat (dan). Di Aula Injeong, raja menerima ucapan selamat (harye) dari pejabat dan menteri. Tangga batu di tengah-tengah landasan dihiasi dengan ukiran burung hong. Interior Aula Injeong direnovasi pada tahun 1907 saat Kaisar Sunjong tinggal di sana. Gorden berwarna kuning digantung, ditambah chandelier dan lantai bergaya barat. Bubungan atap yang tinggi dinamakan yongmaru, dihiasi dengan 5 bunga pir (i-hwa), lambang lencana keluarga kerajaan Joseon. Ilustrasi ini dibuat saat rekonstruksi pada tahun 1907, teristimewa untuk Istana Changdeok saja. Di halaman depan adalah tempat pegawai negeri dan militer berbaris. Halaman Istana Changdeok hanya menampung sedikit saja orang. Sementara, di belakang Aula Injeong terdapat sebuah bukit.[sunting]Aula Seonjeong

Di sebelah timur Aula Injeong terdapat Seonjeongjeon (Aula Seonjeong) yang dipisahkan dengan tembok dan gerbang. Ini adalah tempat raja dan para menteri berdiskusi setiap hari mengenai berbagai hal. Aula Seonjeong adalah satu-satunya bangunan dengan genting biru di komplek Istana Changdeok.[sunting]Ruang Daejo Ruang Daejo

Ruangan di tengah-tengah istana bagian dalam adalah Daejojeon. Ruang Daejo adalah ruang istirahat raja dan ratu yang dilengkapi dengan ondol. Ruang di sebelah timur adalah milik raja dan di sebelah barat untuk ratu. Di sini dilengkapi dengan berbagai mebel barat sejak periode Sunjong. Tahun 1920, bangunan ini musnah karena kebakaran dan dibangun lagi dengan material dari ruang istirahat yang dicopot dari Istana Gyeongbok.

Bangunan ini tidak memiliki yongmaru atau ujung atap yang melengkung tinggi seperti bangunan lain.[sunting]Balai Huijeong

Huijeongdang (Balai Huijeong) adalah bangunan yang berdiri di depan Ruang Daejo. Dulunya dinamakan Sungmundang (Balai Aksara Agung) yang merupakan tempat raja belajar ajaran Konghucu. Namanya diganti menjadi Huijeongdang (Balai Pemerintahan yang Tercerahkan). Di sini, sejak abad ke-17, dijadikan sebagai tempat berdiskusi raja dengan para menteri. Pada tahun 1920, aula ini terbakar dan segera dibangun kembali menggunakan material Gangnyeongjeon yang dicopot dari Istana Gyeongbok dan dilengkapi dengan mebel gaya barat.[sunting]Nakseonjae Nakseonjae

Nakseonjae adalah rumah kediaman Raja Heonjeong beserta permaisuri (1853). Heonjeong yang tidak mempunyai penerus, meninggal 2 tahun berikutnya. Kemudian, rumah ini menjadi kediaman Yi Bang-ja, menantu Raja Gojong. Nakseonjae terlihat mencolok dari bangunan lain karena dirancang menurut rumah bangsawan dengan pilar dan atap yang tidak diwarnai. Dilengkapi pula dengan sarangchae dan anchae. Dekorasi-dekorasinya teristimewa daripada bangunan lain seperti anggur dan kelelawar. Anggur melambangkan kesuburan sementara kelelawar melambangkan keberuntungan, harapan Raja Heonjeong akan seorang putra. Di belakang Nakseonjae terdapat taman dan pendopo.[sunting]HuwonArtikel utama untuk bagian ini adalah: Changdeokgung Huwon

Tersembunyi dari bangunan-bangunan utama, huwon terdiri atas Yeongyeongdang (Balai Yeongyeong). Seperti Nakseonjae, model bangunan ini didasarkan pada arsitektur rumah bangsawan. Di sini tempat pria dan wanita beraktivitas dipisahkan. Ongnyucheon yang berada di sudut belakang taman adalah mata air yang mengalir melewati batu-batuan. Di sekitarnya dibangun pendopo bersenang-senang.

SeokguramDari Wikipedia bahasa Indonesia, ensiklopedia bebas Belum Diperiksa Langsung ke: navigasi, cari Seokguram Grotto and Bulguksa*Situs Warisan Dunia UNESCO

Negara Peserta Korea SelatanTipe KulturalKriteria i, ivReferensi 736Wilayah† Asia-PasifikSejarah prasastiPrasasti resmi 1995 (sesi 19)* Nama resmi dalam Daftar Warisan Dunia.† Menurut klasifikasi resmi UNESCO.

Seokguram (石窟庵; Gua Seokgul) adalah sebuah kuil Buddha yang terletak di Gunung Toham di Gyeongju, provinsi Gyeongsang Utara, Korea Selatan. Seokguram adalah harta nasional Korea Selatan nomor 24 sejak 1962 sekaligus Situs Warisan Dunia UNESCO sejak tahun 1995.

Kim Daeseong, seorang perdana menteri di kerajaan Silla Bersatu disebut merekonstruksi Gua Seokgul pada tahun 742 pada masa pemerintahan Raja Gyeongdeok. Pembangunannya selesai pada

tahun 774 dan awalnya dinamakan Seokbulsa (석불사, Kuil Buddha Batu). Gua Seokgul menjadi tempat peribadatan khusus bagi keluarga kerajaan Silla pada masanya. Konon Raja Silla membangun Seokguram menghadap laut timur agar Buddha menghalau serangan Jepang ke Korea.

Seokguram sebenarnya adalah gua buatan yang diukir dari pahatan batu granit dan didesain secara khusus untuk tujuan ziarah. Aula utama kuil adalah ruangan berbentuk bundar. Pusat aula utama adalah Buddha dari batu granit yang duduk di atas tumpuan bunga teratai. Buddha tersebut dikelilingi ukiran-ukiran figur bodhisatva, orang-orang suci serta dewa-dewa India di tembok kuil. Kubah aula dibangun dengan beberapa pancang batu granit dengan diameter mencapai 6,58 meter. Figur-figur yang mengelilingi Buddha adalah Bodhisatva Manjusri dan Samantabhadra serta dewa Brahma dan Indra.

Buddha Seokguram dipuji sebagai karya seni Korea yang bernilai tinggi. Memiliki tinggi sekitar 3,5 meter dan duduk di atas tumpuan bunga teratai, ia diukir dari batu granit. Buddha Seokguram melambangkan Sakyamuni, dengan posisi tangan yang melambangkan ia telah mengalami pencerahan. Buddha ini dilengkapi pula dengan lingkaran cahaya yang diukir di dinding aula kuil di belakangnya. Seokguram mengalami renovasi berulangkali karena rusak ataupun terabaikan untuk waktu yang lama, sehingga diperkirakan telah berubah banyak dari bentuk aslinya. Renovasi pernah dilakukan pada tahun 1703 dan 1758 pada zaman Dinasti Joseon. Renovasi pada zaman penjajahan Jepang berlangsung dari tahun 1913-1915 semakin memperparah kondisi Seokguram akibat upaya pembongkaran dan penyusunan kembali komponen-komponennya. Seusai Perang Korea, usaha renovasi besar-besaran dilakukan pada tahun 1960-an oleh almarhum presiden Park Chung-hee.

Seokguram

Dari Wikipedia bahasa Indonesia, ensiklopedia bebas Belum Diperiksa Langsung ke: navigasi, cari Seokguram Grotto and Bulguksa*Situs Warisan Dunia UNESCO

Negara Peserta Korea SelatanTipe KulturalKriteria i, ivReferensi 736Wilayah† Asia-PasifikSejarah prasastiPrasasti resmi 1995 (sesi 19)* Nama resmi dalam Daftar Warisan Dunia.† Menurut klasifikasi resmi UNESCO.

Seokguram (石窟庵; Gua Seokgul) adalah sebuah kuil Buddha yang terletak di Gunung Toham di Gyeongju, provinsi Gyeongsang Utara, Korea Selatan. Seokguram adalah harta nasional Korea Selatan nomor 24 sejak 1962 sekaligus Situs Warisan Dunia UNESCO sejak tahun 1995.

Kim Daeseong, seorang perdana menteri di kerajaan Silla Bersatu disebut merekonstruksi Gua Seokgul pada tahun 742 pada masa pemerintahan Raja Gyeongdeok. Pembangunannya selesai pada

tahun 774 dan awalnya dinamakan Seokbulsa (석불사, Kuil Buddha Batu). Gua Seokgul menjadi tempat peribadatan khusus bagi keluarga kerajaan Silla pada masanya. Konon Raja Silla membangun Seokguram menghadap laut timur agar Buddha menghalau serangan Jepang ke Korea.

Seokguram sebenarnya adalah gua buatan yang diukir dari pahatan batu granit dan didesain secara khusus untuk tujuan ziarah. Aula utama kuil adalah ruangan berbentuk bundar. Pusat aula utama adalah Buddha dari batu granit yang duduk di atas

tumpuan bunga teratai. Buddha tersebut dikelilingi ukiran-ukiran figur bodhisatva, orang-orang suci serta dewa-dewa India di tembok kuil. Kubah aula dibangun dengan beberapa pancang batu granit dengan diameter mencapai 6,58 meter. Figur-figur yang mengelilingi Buddha adalah Bodhisatva Manjusri dan Samantabhadra serta dewa Brahma dan Indra.

Buddha Seokguram dipuji sebagai karya seni Korea yang bernilai tinggi. Memiliki tinggi sekitar 3,5 meter dan duduk di atas tumpuan bunga teratai, ia diukir dari batu granit. Buddha Seokguram melambangkan Sakyamuni, dengan posisi tangan yang melambangkan ia telah mengalami pencerahan. Buddha ini dilengkapi pula dengan lingkaran cahaya yang diukir di dinding aula kuil di belakangnya. Seokguram mengalami renovasi berulangkali karena rusak ataupun terabaikan untuk waktu yang lama, sehingga diperkirakan telah berubah banyak dari bentuk aslinya. Renovasi pernah dilakukan pada tahun 1703 dan 1758 pada zaman Dinasti Joseon. Renovasi pada zaman penjajahan Jepang berlangsung dari tahun 1913-1915 semakin memperparah kondisi Seokguram akibat upaya pembongkaran dan penyusunan kembali komponen-komponennya. Seusai Perang Korea, usaha renovasi besar-besaran dilakukan pada tahun 1960-an oleh almarhum presiden Park Chung-hee.