Sunday, February 2, 2020

Tongyeong Ottchil Art Museum, Geoje Island

Ottchil, also known as an East Asian Lacquer, contains the chemical substance Urushiol. Ottchil is most frequently used in najeon-chil-gi (mother-of-pearl inlay lacquer ware); however, the West has typically perceived ottchil as being a synthetic and not derived from organic sources. Therefore, in an attempt to refute this misbelief and to raise awareness of the natural beauty of ottchil in elaborate artisty, artist KIM Sungsoo has organized a series of Korean Ottchil Painting exhibitions in the hopes of "enlightening others". In result, the Tongyeong Ottchil Art Museum was created for the purpose of establishing ottchil in the Korean art culture--specifically its historical claims to natural beauty and its current modern usages.
KOREA: Ottchil is an art form with long-lasting preservation qualities as well as offering the aesthetics of visual depth and elegance. Ottchil is the semi-permanent material which doesn't get discolored even if it is buried in the earth for thousands of years, obviously having better durability than canvas or paper. In current times creating new concepts and usages of the traditional form of ottchil is a modern art trend.

VIETNAM: Son mai was a traditional pigment originating in Vietnamese temple art over 1,000 years ago. The art was used for gilding, painting dark brown or black colors, and varnishing pillars and sculptures of religious iconography with som mai (resin of the som tree). Traditionally, Buddhist statues were lightly painted and then varnished with som mai to "bring forth the magical and holy world of Vietnamese traditional painting". The pigment was also used on household furniture and items such as beds, drawers, furniture, plates and chopsticks.

Vietnamese painting culture originated in the Puto region, which was known for producing the best quality of som mai. Before the sun rose, people collected it. It was then put in a large container and after some time, the som mai would separate into layers. The top layer was of the richest blacks and browns (som mai) and used for creating elegance and the lowest layer was of the heavy elements with waterproof qualities and had everyday, commonplace usages (som song). In modern times the simple traditional ingredients have been replaced with more controllable and aesthetically pleasing synthetics. Since the 1980s and 1990s, Vietnamese artists have been expanding the uses of som mai into abstract works to reach new levels of loveliness and idealism.

JAPAN: Urushi has been used by the Japanese since the Jomon era 1,000 years ago. However, this number is young when considering the thread-processing tool with urushi applied on it and surmised to be 7,000 years old. Currently, in Kyoto there are a series of activities to develop and promote urushi quality. A lacquer ware youth association in cooperating with young pupils, craftsmen, Maki-e artisans and urushi refiners has launched various programs to expand the uses of lacquer ware gum.

CHINA: Daqi initially was used in lacquer ware but has since been transformed through a long process. In 1962 the "Vietnamese Daqi Exhibition" was opened first in Beijing and then in Shanghai, and these would influence the artistic world of China. In the same year that Vietnamese daqi entered China, university students Qiao Shiguang (who later became knows as "the father of contemporary Chinese Daqi art") and Li Hongyin were sent to Vietnam to study daqi, which started a daqi trend. 
A selection of some of the ottchil art in the museum:


lacquered table by Master KIM Sung Soo
"The Great Leap"  (1986) by Master KIM Sung Soo
And then a solo exhibition of Myung Pum Kwan (adjacent building):

  
  
  
  


Tuesday, January 7, 2020

Korean War and Geoje POW Camp

In the briefest summary of the institution of the POW camp on Geojae-do...

North Korea forces, crossing the divisional 38th parallel at multiple points, invaded South Korea in a surprise attack on June 25, 1950. Three days later Seoul was taken, and the North Korean forces pushed southward. Battles rages between the brother countries and in the early part of the war, North Korean forces had the South Korean army on the run. However, with the United Nations and U.S. forces joining the South Korean side and the General McArthur-led Incheon invasion, the South then began to push back. Communist China then joined the North with 1 million troops halting the push but not halting the war. With the progression of the war, hundreds and hundreds of North Korean soldiers were taken, and the question of what to do with the prisoners became a problem. Not nice to be told but as a reality of war, many were shot and buried hastily in mass graves but with the progression of war accommodations had to made for those who had been captured. 

In 1951, because so many POWs were being taken and because there was a need for them to be held in a secure place well away from being taken by the attacking North, a POW camp was built in the Gohyeon and Suwol area of Geojae Island. The POW camp eventually accommodated 173,000 prisoners with 20,000 communist Chinese and 300 women.

 
 

North Korean Invasion of the South

At 4 a.m. on Sunday morning of June 25, 1950, the North Korean army launched a massive surprise attack across the 38th parallel and "committed an iniquitous invasion of South Korea" (signboard in the camp).
"On the day the war broke out, the UN Security Council was convened promptly. It passed a resolution to create the United Nations Command on July 7, 1950 and General Douglas MacArthur was appointed Supreme Commander two days later. Combat troops from 16 friendly countries joined the UN Forces and 4 countries sent support troops for medical assistance and related areas. Thus, the UN Forces along with the Republic of Korea Forces fought against the enemy to protect the freedom and peace of this land."
 

Dioramas of the Korean War
Division between the North and its allies (left) and the South and its allies (right)
North Koreans invading the South
South Koreans setting up defense zones and fighting back
As the ROK army is forced to retreat because of superior forces from the Chinese army which joined the North, refugees desperate for safety endeavored to cross the Daedong River.
History of the Korean War

 
POWs of the Korean War

As the number of prisoners increased exponentially, the UN Command began planning to build an additional prison camp outside of Busan No. 1 prison camp. Geoje Island and Jeju Island were both considered as candidates, and soon a camp was built on Geoje Island and called "Operation Albany" (30 Dec 1950).
North Korean soldiers, Chinese officers and soldiers, and females prisoners were contained there. 
  • 22,604 communist POWs were held in the camp (total)
  • 14,704 Chinese
  • 7,900 North Koreans
The POWs were a major factor in the Korean War not reaching armistice long before the 1953 date. Truce talks were first held on July 10, 1951, but were deadlocked because of the POW problems—how to treat them, how to repatriate them and whether repatriation should be forced or allow the POWs to choose the country (North or South) where they would remain. The option of choice was the biggest controversy—the North demanded the return of all POWS, the South preferred giving the POWs freedom of choice.

If I the blogger am reading the signboard correctly, 359 Korean and UN soldiers who had been taken prisoner during the war refused repatriation. Delegates from the North and the South were to persuade them according to the terms of the armistice agreement, and the persuasion period was to last 120 days at the DMZ under the protective custody of the Neutral Nations Repatriation Committee. However, only 30 days later due to the delay on the communist side, the term of persuasion ran out on December 23, 1953. The train below symbolizes the last train heading back to the North with soldiers having to make their FINAL desperate decision at the station about staying or leaving ... with no chance of ever reversing that decision!


The POW camp was officially closed after the release of the anti-communist prisoners by the South Korean government in 1953 and the armistice agreement on June 27th, 1953. In December 1983 the camp grounds was designated as South Gyeongsang Province Cultural Treasure No. 99, and since has been remodeled into the Geojae POW Camp Park where visitors can learn of the lives of prisoners, see dioramas of the Korean War and artifacts of the prisoners themselves—their clothing, weapons, how they entertained themselves, and even how their choice of weapons within the camp as there were frequent battles between the “anti-communists” and the “communist” prisoners, carry-overs from the Cold War era.

The last remaining structure of the Geoje POW camp that remains today.

Wednesday, December 25, 2019

Songs of the Dragons

Songs of the Dragons Flying to Heaven, translated by James Hoyt (1979), was a compilation of 125 cantos compiled to establish the legitimacy of King Sejong's lineage. King Sejong (1397-1450), 4th king of the Joseon Dynasty (1392-1910) ordered the compilation to extol the merits of the Yi (Lee) lineage in the new dynasty, and printed the compilation with the newly-made hangeul script made for all people of the nation to easily read. Songs of the Dragons was the first book to be printed in Sejong's new "alphabet".  


Three Reasons for the Compilation

(1) Extolling the great accomplishments of the six generation of founders of the new Yi, or Chosun/Joseon Dynasty. The heroic actions of the Six Ancestors are compared to the flights of dragons symbolic of the throne, hence the title of the work. Of the Six Ancestors, only two actually sat on the throne of Korea. The other four generations of the House, preceding the establishment of the dynasty, are designated as chamnyong, or "submerged dragons," and their residences as chamjo, or "submerged palaces," after Chinese usage. [When Yi Seong-gye took the throne, he had to justify through ancestry that he was eligible for the throne. Ancestry was of need traceable back by at least four generations; thus, when Yi Seong-gye established his Dynasty, he brought with him the bones of his four primary ancestors.]
  • The ancestors of the Yi family lived in Jeonju, Jeolla-do, and their prominence dates from Mokcho (Yi An-sa, d. 1274), the First Ancestor, who served the Goryeo Dynasty (918-1392) in various capacities in a number of provinces. Mokcho's descendant in the fourth generation, Yi Seong-gye, became King Taejo, the founder of the Yi Dynasty after overthrowing the Goryeo Dynasty.
  • The Second Ancestor, Ikcho (Yi Haeng-ni), was noted for his difficulties with the Jurchen tribesmen in the North.
  • The Third Ancestor, Tojo (Yi Ch'un, e. 1342), a skillful bowman.
  • The Fourth Ancestor, Hwanjo (Yi Cha-ch'un, 1315-1361), based the growing power of his family on the imminent collapse of the Mongol empire in China (1368) and the concomitant weakening of the Mongolized dynasty of Korea.
  • The Fifth Ancestor, Taejo (Yi Seong-gye, 1335-1408), wielding military power as a result of his expeditions against both the Jurchen tribesmen and Japanese freebooters and for espousing a program of land reform and alliance with the Ming, he established himself as king and ruled until his abdication in 1398.
  • Chongjo, an ineffectual son of Taejo and who was a caretaker-king during a period of rivalry over succession (1399-1400), does not merit qualification to be listed as one of the Ancestors of the dynasty.
  • The Sixth Ancestor, Taejong (1401-1418), completed the work of establishing a firm dynasty, which would last until 1910.
First four kings of the Yi/Lee Dynasty / Joseon Dynasty:
  1.   Fifth Ancestor: Taejo (r. 1392-1398)
  2.   Jeongjong (1398-1400)
  3.   Sixth Ancestor: Taejong (1400-1418)
  4.   The Great King Sejong (1418-1450)

(2) Providing inspiration for King Sejong and subsequent kings on the Yi line by recalling the vicissitudes and tenacity of the Six Ancestors. No less than 15 of the 125 cantos end with the hortatory refrain, "Let Your Majesty not forget this!"

(3) Proclaiming to the world that the accession of the Yi family to power was in accordance with the Chinese concept of the Mandate of Heaven. This concept of the Mandate of Heaven is an ancient one, formulated by Tun Chung-shu (2nd century BC), who declared that when a ruler commits unjust acts, Heaven shows its displeasure by such calamities as earthquakes, famines, and floods. If these warnings are not heeded, Heaven seeks to admonish rulers by means of such portents as eclipses and comets. If these are not needed, the ruler loses the Mandate, and Heaven selects another to mount the throne. The attainment of the Mandate of Heaven's divine plan is the much repeated theme of Songs of the Dragons Flying to Heaven, and the word "Heaven" in the title refers to Heavenly favors bestowed upon the six heroes. The writing of the work is, in short, a written legitimization of the Yi rule.

CONTENTS

All of the cantos are focused on the assertion that the Six Ancestors have the favor of Heaven. The earlier cantos speak of the exploits of the first four Ancestors, aiming to support the Fifth Ancestor Taejo, who took the throne. The cantos XXVII to XCV (68 or 54% of the cantos!) were of the exploits of King Taejo, how mighty he was and how he repeatedly saved the country through his valorous deeds in battle or in the hunt. No cantos were given to Jeongjong (1398-1400), the ineffectual son of Taejo who ruled briefly during a period of political instability and fighting for the throne. Cantos XCVII to CIX (13 cantos) were dedicated to the Sixth Ancestor, Taejong (1400-1418). Those 13 cantos primarily reflected the time of instability and mostly sang of assassination plots and recognition of loyalty. Cantos CX to the end of the songs, Canto CXXV, sang of the merits and righteousness of the Great King Sejong, the Sixth Ancestor. These cantos were a series of admonishments. Admonishments:
  • to not forget the hardships of his Ancestors and to be steadfast in purpose
  • to not forget the contrast between the magnificence of his palace and the crudeness of his Ancestor's shelter
  • to not forget the contrast of his embroidered belt of office with the crude armor of his Ancestors
  • to not forget his Ancestor's hunger as he dines of the finest of food and richest of drinks
  • to not forget his Ancestor's fierce battles as he presides over a brilliant and peaceful court
  • to rule with clemency, an important quality of kingship
  • to have compassion
  • to be humble lest he become a tool of conniving ministers
  • to act in a manner befitting a king
  • to overcome with benevolence the plot of evil ones
  • to maintain a strong economic basis for the state
  • to be forgiving to his advisors as was Taejong
  • to respect scholarship and beware of trouble-makers
  • to evade slander mongers and those who embroider the truth
  • to despise Buddhism and revere Confucianism
  • to emulate the Flying Dragons
Opening canto - the opening assertion of the Six Ancestors aka dragons flying in the Heavens, the symbolic statement that the Heavens validates their auspicious right to be elevated above men and below the space of universe authority. Reference the meaning of "king" in Chinese character.
meaning of the Chinese character "wang" or "king"
King Taejo, found of the Yi Dynasty, is valorous in war and in the hunt. He is powerful, righteous, blest by the Heavens, and therefore deserves the role of king and ruler/caretaker of the nation.
The last canto, the canto that affirms King Sejong, the fourth king of the dynasty, as the right to continue to rule, as based on the righteous foundation of the Six Ancestors.
Final Comments

Songs of the Dragons was the first book to be printed in the newly developed hangeul writing. Printing was executed with wooden block in October 1447, about two years after its compilation, and 550 copies were presented to various ministers. The editions that are presently extant include those printed in 1612, 1659 and 1735.

The compilation is now recognized as a monument to the cultural independence of Korea from China, a most important source for the study of the Korean language, and the beginning of Korean national consciousness and of vernacular literature.

For more information regarding the translation, reference a 1977 JSTOR preview of the book, by Peter H. Lee. 

Friday, November 29, 2019

Heavenly Nymphs - 'bicheon'

"Celestial Nymphs, Heavenly Maidens to Transmit the Buddha's Voice: Playing Instruments and Scattering Flowers in Praise of the Buddha"

Celestial nymphs (bicheon) are a type of heavenly being who give offerings and praise to the Buddha by playing instruments, dancing and sprinkling flowers. Though unseen by ordinary people, they fly at will with their supernatural powers. Wherever Buddhas teach or bodhisattvas reside, celestial nymphs fly over them and sprinkle flowers or play instruments. How were these attractive celestial nymphs, who float in the air with their heavenly robes fluttering, introduced to Korea from India through China? Let’s see where these celestial nymphs are found in a temple compound, and further explore the music and instruments they play.

Celestial nymphs are mythological beings that symbolize the beauty and peace of the Buddha realm, the ideal world of Buddhism. As an artistic expression of our desire to fly as well, celestial nymphs can be compared to the angels of Western mythology. However, unlike Western angels who need wings, celestial nymphs of the East, especially those depicted in Buddhism, have much more freedom. The idea that one can fly without wings is a somewhat novel concept by itself. Perhaps celestial nymphs are just an expression of our own inner desire to fly without the aid of wings.

Originating in the Indian districts of Gandhara and Mathura, the concept of celestial nymphs was introduced to China via the Silk Road and then to Korea. A depiction of male and female celestial beings sprinkling flowers is one of the oldest examples of Indian art. In Indian mythology they were considered low ranking devas, and the females were called apsaras or devatas. The most often depicted image of celestial nymphs, afloat in the air with celestial robes fluttering, is reminiscent of the legendary Daoist fairies, but in fact, originally, they were not considered that beautiful. In Indian mythology, depictions of celestial nymphs evolved from images of gandharvas or kinnaras, which may have been animals or birds; nobody is quite sure. They often had a human head and a bird-like body or a horse head with a human body. They evolved into more of a fairy image in China and Korea where imported Buddhist thought coexisted with China’s concept of Daoist hermits. The celestial nymphs depicted in the Dunhuang grottoes had already been transformed into the elegant and charming images of Daoist legends. These beautiful Chinese-style celestial nymphs were introduced to Korea in the late 4th century during Korea’s Three Kingdoms Period, along with Buddhism. After some changes in style, celestial nymphs were established in Korea as what we now call bicheon.

Korea’s Celestial Nymphs Transformed into Beautiful Fairies

Already transformed in China into attractive Daoist fairies, in Korea, celestial nymphs were depicted as beings who could freely soar into the sky or descend to earth draped in fluttering celestial robes. They first appeared in Korea in the murals of Goguryeo dynasty tombs, and on a queen’s pillow discovered in the Muryeong Royal Tomb of the Baekje kingdom. During the Unified Silla era, celestial nymphs appeared as decorative motifs on the nimbi and pedestals of Buddha statues, and on metal artworks such as temple bells and sarira utensils. 

Celestial nymphs in Goguryeo’s ancient tombs have nimbi, their half-naked bodies are elegantly curved, and their robes and wide waistbands, depicted in sophisticated artistic techniques, convey the freedom and feeling of soaring. They look free and unhindered. In murals they convey a sense of the Buddha realm through their total freedom. 

This evolution of Korea’s celestial nymphs continued on the Bronze Bell of Sangwonsa Temple (National Treasure no. 36). The most exquisite of Korean flying celestial nymph images are found on this temple bell, located on Mt. Odaesan. Though rather small in size, the Bronze Bell of Sangwonsa Temple has a multitude of celestial nymphs on its surface, giving the impression they are dancing in sequence. They are depicted playing a lute and a wind instrument called a saenghwang. Their robes flutter upward from the ascending air currents, and the vegetal design on their waistbands heightens their allure. Another temple bell similar in stature to the Bronze Bell of Sangwonsa Temple is the Bell of King Seongdeok (National Treasure no. 29), aka Emille Bell, which is housed in the Gyeongju National Museum. Production of the bell was begun by Silla’s King Gyeongdeok to honor his father King Seongdeok, but it was completed in 771 by his successor, King Hyegong. The bell is known for its aesthetic beauty and graceful form, along with its clear, deep sound. 

Unlike the celestial nymphs on the Bronze Bell of Sangwonsa Temple, those on the Bell of King Seongdeok are presenting offerings to the Buddha, probably because the bell was crafted to pray for the eternal repose of the deceased King Seongdeok. Seated on opposite sides of the dangjwa, the bell’s striking point, two exquisite celestial nymphs captivate even modern designers. Holding lotuses in their open palms, they are kneeling on lotus pedestals. Their cascading robes and necklaces fluttering in the wind, they make offerings while encircled by large and small floral scrolls from heaven. Artworks that are dazzling typically lack loftiness, and lofty artworks typically lack luxuriousness. However, the celestial nymphs on the Emille Bell are both lofty and luxurious. They exude stillness in the midst of movement, and hint at movement in their stillness. 

Although these celestial nymphs are typically inscribed on cold, hard surfaces, such as bells and walls, their free and joyful postures evoke thoughts of subtle music and beautiful scenes of the Pure Land. Singing of the limitless freedom and beauty of the Buddha realm, and the inexhaustible truth of the Buddha, celestial nymphs are eternal symbols that embody the ideals of modern Buddhists. 

Why the Bell of King Seongdeok is called the Emille Bell 

On exhibit in the Gyeongju National Museum, the Bell of King Seongdeok (National Treasure No. 29) is also called the “Emille Bell,” based on a heartbreaking legend. Silla’s King Gyeongdeok wanted to craft a bell for Bongdeoksa Temple to honor his deceased father, King Seongdeok. Although several bells were made, their sound never earned the king’s approval. To augment their sincere devotion, monks began to solicit donations from subjects. One day, a woman from an impoverished family donated her daughter as she had nothing else to give, and legend says the child was put into the molten bronze to make a new bell. When the bell was rung, everyone heard “Emille… Emille…” as if the child was calling her mother. And that’s why it came to be called the “Emille Bell.” Is it true that a child was sacrificed to make a bell? Buddhists don’t even kill insects as Buddhism prohibits all killing. So how could Buddhists make a temple bell, which is supposed to save sentient beings, by sacrificing a child? A scientific analysis of the metal in the bell revealed no phosphorus, which would have been present if human bones had been added. Sometimes legends are just legends. The flying celestial holding an incense burner is clearly and earnestly praying for King Seongdeok to be reborn in the Pure Land.

The Bell of King Seongdeok aka the Bell of Emille (National Treasure No. 29) - Source

Celestial Nymphs Depicted in Temple Compounds Praise the Buddhas Who Live in the Buddha Realm

Although mostly found as decorative design on temple bells, celestial nymphs are also found on the ceilings, main altars and canopies of Dharma halls, and on stone lanterns, monks’ stupas and decorative paintings on the walls of Dharma halls. On the underside of canopies placed above Buddha statues we also see various carved designs of dragons, flames, precious jewels and phoenixes. Surrounding the canopies are celestial nymphs seeming to emerge from the ceiling. These dazzling sculptures give a dramatic effect to the inner space of Buddha halls. Let us find out more about the celestial nymphs adorning these places.

Celestial nymphs are divided into three types: those that play instruments, those that fly and those that make offerings. 

Instrument-playing celestials play various instruments; flying celestials are either descending from heaven or flying horizontally; those making offerings to the Buddha are holding lotuses or incense burners. Temple bells from the 8th century typically feature instrument-playing celestials sitting lightly on clouds with their robes fluttering upward in graceful curves. Temple bells from the late 8th century and 9th century typically feature celestials making offerings while kneeling on lotus pedestals or instrument-playing celestials. In addition to temple bells, celestial nymphs are also found on Dharma halls, pagodas and monks’ stupas. Some noteworthy celestial nymphs adorning Dharma halls are found: on the altar of the Main Buddha Hall at Beomeosa Temple in Busan; on the ceiling of the Main Buddha Hall at Yongjusa Temple in Hwaseong; and those emerging from the ceiling of the Main Buddha Hall of Songgwangsa Temple in Wanju. In the Main Buddha Hall of Yongjusa, celestial nymphs are depicted flying through the air.


Celestial nymphs on the canopy of the Main Buddha Hall at Yongjusa Temple in Hwaseong. With one leg bent back and the other stretched out, two nymphs fly over the heads of Buddha statues, their robes fluttering.
A celestial nymph, adorning the canopy of the Pure Land Hall at Hwa-amsa Temple in Wanju,
flies in dynamic fashion holding a flower in her hand. 

On the ceiling, two celestial nymphs are depicted flying over the heads of Buddha statues and surrounded by flying phoenixes and floating wish fulfilling-gems, symbols of auspicious energy. With one leg bent back and the other stretched out, their postures suggest movement while their robes and arm bands flying upward evoke dramatically the sense of flight. The luxurious flowers adorning their robes and arm bands symbolize devout faith to the Buddha. The whole scene depicts an aesthetically beautiful fantasy or dream. 

The celestial nymphs on the Main Buddha Hall of Yongjusa Temple, though small in size, exude magical power that draws onlookers into the Buddha realm. The stone lantern in front of Ven. Na-ong’s (aka Boje Jonja) stupa at Silleuksa Temple in Yeoju features outstanding bas-relief images of celestial nymphs. On each plane of the octagonal lantern chamber, carved from agalmatolite, an arch-shaped window is cut, and the rest of the plane features elaborate inscription of celestial nymphs and dragons. The face of one celestial nymph holding a lotus bud is damaged, but her graceful body and softly fluttering robes make it easy to imagine her in flight. Her voluptuous body entwined in thin, soft cloth is captivating to the point that we can almost feel her bodily warmth. 

Other noteworthy depictions of celestial nymphs are: those inscribed under the roofstone of National Preceptor Hongbeop’s stupa, retrieved from the Jeongtosa Temple Ruins and now displayed in the National Museum of Korea; Seon Master Cheolgam’s stupa at Ssangbongsa Temple in Hwasun; a monk’s stupa at Godalsa Temple Ruins in Yeoju; the Three-Story Pagoda at Jinjeonsa Temple Ruins in Yangyang. When we see depictions of a celestial nymph, we should look beyond their physical form. With knowledge of their significance, you might feel their free and joyful movements as well as listen to their sublime music resounding through the universe. You might even visualize a scene from the Pure Land with celestial nymphs flying about. Wherever featured in a temple compound, celestial nymphs symbolize our veneration and exultation to the Buddha and the Pure Land.

Celestial Music in Praise of Buddhas’ Merits Instruments Played by Celestial Nymphs

The music played by celestial nymphs expresses the profound joy of Dharma, and the deep sound of liberation that transcends this mundane life confined in a physical body. Playing various wind or string instruments, they lead us to the world of nirvana.

Music has always been closely related to Buddhism as it can effectively praise, adorn and present offerings to the Buddha. Many Buddhist scriptures, including the Lotus Sutra, often feature musical gods like kinnaras and gandharvas, as well as performances of celestial music and music to entertain. However, in principle, temples prohibit music intended to entertain. This includes all music that does not guide one to higher realms of thought; including dancing and singing, as well as gongs and drums. 

The Buddha said, “Singing is not allowed except on two occasions. One is to praise the virtues of great monks and the other is to chant the Impermanence Sutra.” In this way the Buddha warned against music for the sake of one’s enjoyment. A monastic’s foremost task is to cultivate themselves physically and mentally in order to attain enlightenment and to edify sentient beings. “Enchanting music” is an obstacle to Buddhist practice. 

The reason the Buddha allows offerings of music but prohibits singing and dancing is because he has great compassion for people, and those who offer music to the Buddha receive blessings according to their wishes. By integrating passages from various sutras, we can conclude that any singing and dancing should be for the sake of Buddhism’s Three Jewels, and meant to praise the Buddha. Playing music to glorify the Buddha is to achieve great merit and a way to attain the path to Buddhahood.

Instruments for Offerings of Sound 

Celestial nymphs praise the Buddha, play celestial music, sprinkle fragrant flowers and reside in the heavenly realm of abundant joy. That’s why Buddhists believe they can instantly reach the Pure Land of the Buddha if they can even grasp the hem of their fluttering robes. A bipa (a kind of lute) is the instrument most often held by celestial nymphs. Most of the instruments they hold are ancient musical instruments from central Asia. Each nymph seems to be playing alone, but in actuality they are all playing together as an ensemble to express the joy of Dharma. They play blissful music of the Buddhist paradise as described in the scriptures of the Pure Land tradition. 

Of the four heavenly kings that protect temples,
the one in charge of the north holds a bipa (a kind of lute) in his hand.

If you have no idea of what a bipa is, think about the four heavenly kings enshrined in the Gate of Heavenly Kings. One of them is holding a bipa in his hand. Why does this king, the one who protects the BuddhaDharma, holds bipa instead of a sword, arrow, spear or vajra? It is because the bipa enjoyed great popularity in ancient central Asia, where most people lived a nomadic lifestyle and rode horses. As a bipa could be played while riding horseback, many warriors played them. That’s probably why that one king, clad in warrior attire, is holding a bipa. Some noteworthy celestial nymphs playing a bipa are depicted on the pillars of the Main Buddha Hall at Beomeosa Temple in Busan, and on the ceiling of the Main Buddha Hall at Jangnyuksa Temple in Yeongdeok. 

Flute-playing celestial nymphs are inscribed
on the main altar at Gwallyongsa Temple in Changnyeong.

Other instruments used to make offerings of music are the piri (a kind of flute), haegeum (a string instrument resembling a fiddle), janggu (hourglass-shaped drum), saenghwang and bara (spherical hand drum). Most of these are depicted in the Main Buddha Hall of Naesosa Temple in Buan. Every instrument depicted on the ceiling has fluttering robes dangling from it. Beautiful celestial nymphs are also inscribed on the main altar of Gwallyongsa Temple in Changnyeong.


Celestial Nymphs Playing Instruments and Dancing 

Buddhism says we can attain Buddhahood by praising and presenting offerings to the Buddha. In Buddhist art, offerings of music are done by either celestial nymphs or ordinary musicians dancing and playing music. Most human musicians have either the features of heavenly beings or bodhisattvas with haloes, or ordinary people in colorful attire and round hats. Celestial nymphs playing instruments are often depicted on the ceilings of Buddha halls, on pagodas enshrined with Buddha’s cremains, on sarira utensils, and on the platform of an eminent monk’s stupa. 

The nymphs on the ceiling of the Main Buddha Hall at Songgwangsa Temple in Wanju are featured in various scenes playing instruments or dancing. Also seen are traditional Korean elements such as some dance movements in the style of the mask dance and in a woman playing the daegeum (a kind of flute) and wearing a shaman’s hat decorated with a feather. At Silleuksa Temple in Jecheon two symmetrically positioned celestial nymphs are depicted, a style hinting at Chinese influence. 

The stupa for Jijeung Daesa at Bongamsa Temple in Mungyeong features celestial nymphs kneeling with joined palms, as well as others playing various instruments. Some outstanding depictions of celestial nymphs inscribed on stone pagodas include: instrument-playing nymphs on the three-story stone pagoda at Baekjangam Hermitage (affiliated with Silsangsa Temple in Namwon) and the Four-Lion-Three-Story Stone Pagoda at Hwaeomsa Temple. The celestial nymphs inscribed on the base of the Four-Lion-Three-Story Stone Pagoda at Hwaeomsa Temple are meant to offer praise to the Buddha’s sarira which are enshrined within. As can be seen, celestial nymphs play various instruments, dance and sing to praise the Buddha and present offerings of music to the Buddha realm. 

Monday, November 4, 2019

Eight Auspicious Symbols (Buddhism)

Friends and I were traveling around in Wonju and stopped for lunch before heading on to the San Museum, known for its unique form of presentation and architecture. As we got out of the car at the restaurant, a lady just started talking to us foreigners (in Korean). We told her where we were going next and she told us, "Oh, don't bother going there. There's nothing to see! You should go to the Hanji Museum ... And, I have a minhwa (traditional art using symbols of Korea) display on The Eight Auspicious Symbols there! You can see hanji and minhwa. It's so much better than that San Museum!" and then she went to her car and got us color brochures IN ENGLISH on her display. All four of us mutually decided that, yeah, the minhwa display and Hanji Museum would be so much more interesting!

The Eight Auspicious Symbols (ashtamangala)

Cho Bong Seok, the painter and person we just met, was giving her 10th Solo Exhibition. The focus of her artwork was the eight auspicious symbols, and they were all painted minwha style. There are many kinds of Buddhism but these eight auspicious symbols figure most commonly in the Mahayana (from which Korean Buddhism is derived) and Vajrayana forms.



Treasure Vase

representing inexhaustible treasure and wealth

Like a jar filled with precious jewels, the treasure vase represents the benefits of this world that come with enlightenment.






Conch Trumpet

representing the thoughts of Buddhism

The beautiful sound of the conch shell represents the far-reaching nature of the Dharma teachings, which awaken the disciples from the deep slumber of ignorance and allows them to recognize their beauty.





Dharma chakra [Eternal Wheel of Truth]

Wheel of Dharma or Chamaru in Nepali Buddhism (always with 8 spokes)
The wheel of truth represents the seed of truth in the hearts of living beings planted by Buddha's realizations, and the enjoyment of peace and liberation by all.






Golden Fish Pair
representing conjugal happiness and freedom

The pair of golden fish, which swim freely without fear of water, symbolize the liberation of living beings from the ocean of sufferings and the courageous pursuit of truth.







Lotus Flower

representing purity and enlightenment

The human heart may be filled with defilements and sins, but it is essentially pure like the lotus flower, which symbolizes the attainment of a blessed life through the blossoming of wholesome deeds.





Victory Banner

representing a victorious battle

The victory banner, which adorns the preaching hall of Buddha, represents the victory of body, speech, and mind over evil deeds. It shows that all evil spirits have been defeated by the Gunas of the Dharma.





Endless Knot

a mandala representing eternal harmony

The endless knot represents the chain of cause and effect that carries on to the end of space and time. It is interpreted as the inseparability of emptiness and dependent origination, and the union of wisdom and compassion for true enlightenment.


Thursday, October 31, 2019

Bank of Korea Money Museum

Bank of Korea Money Museum is in the heart of downtown Seoul and was a phenomenal find! I never even heard of the place, but when I was passing by and saw people walking out of elegantly old, stately building that smacked of government money, I took a closer look at the large "marble" sign in front. A banking museum?! I decided I had time to go in!

Anti-counterfeiting Efforts

Central banks and minting offices around the world make great effort to develop anti-counterfeiting devices in order to combat increasingly sophisticated counterfeiting techniques.

Before the 1990s - characteristic banknote paper or special printing methods were used, e.g. watermarks and micro lettering.


From the 1990s - 2000 -- Additional features like windowed thread, intaglio latent images, optically variable ink, and special presses and soldering were developed and employed.

From 2006 to the present -- With forged banknotes increasing due to technological advances in digital devices, color printers and scanners, new security features like moving images in a striped band and band-type holograms have been adopted.


Examples of counterfeit banknotes: top (counterfeit), bottom (authentic)



High-tech process for making the modern authentic banknote

Security thread, comber noil (the short fibers remaining when cotton is spun into yarn), and florescent thread are woven into acid-free cotton pulp paper undergoing durability-building processes.


The paper then undergoes a systemic series of printings to layer prints on top of intaglios on top of varying colors ...



And the same series of printings with colors, iridescent dyes, itaglios, etc is also on the back side.

Design Symbolism on the Korean Banknotes

Each of the four banknotes in Korea (W1,000 ... W5,000 ... W10,000 ... W50,000) are imbued with cultural symbolism. Who is the great respected person on each banknotes and what are the primary symbolisms employed? All banknotes have highly recognized pieces of great art or scientific learning -- art, architecture, astronomy -- and each select piece contains deep symbolic value, e.g. books for scholarship, pine tree for the uprightness of the scholar and an eternal symbol, certain plants for longevity, wisdom, blessings, wealth, and the continuation of a family dynasty through a son, clocks and ancient maps lauding scientific learning and great advancement, to name a few.

W50,000



FRONT (OBVERSE) VIEW

Shin Saimdang, one of the most brilliant members of the literati and a calligrapher and painter of the Joseon Dynasty, excelled at poetry, handwriting and painting. She is well-known for her "Insects and Plants", which reveal many traditional Korean themes imbued with cultural value.

"Insects and Plants" (Treasure No 595)
"Mukpododo"


BACK (REVERSE) VIEW

Lee Jeong's Poongjukdo and Eo Mongryong's Wolmaedo are among the most typical paintings of the mid-Joseon Dynasty, depicting bamboo and ume flowers, respectively.


 W10,000



FRONT (OBVERSE) VIEW

King Sejong the Great was the fourth king of the Joseon Dynasty among whose great achievements was the creation of Hangeul (the Korean alphabet). 

"Inworobongdo" (The sun, moon, and five peaks) symbolizes the king in the Joseon Dynasty, and Yongbieochaeonga (Songs of the Flying Dragon) was the first literary work written in Hangeul.



BACK (REVERSE) VIEW

Cheonsangyeolchabunyajido (National Treasure No. 228) is an astronomical map produced during the reign of King Taejo, founder of the Joseon Dynasty, showing the original astronomical view of our ancestors.

Hongcheonui is the celestial globe element of Honcheonsigye (National Treasure No. 230), an astronomical timepiece invented in the reign of Joseon's King Hyeonjong.

The Optical Astronomical Telescope in Bohyunsan Optical Astronomy Observatory is the largest reflecting telescope in Korea.



 W5,000


FRONT (OBVERSE) VIEW

Yi I (Yulgok) was a Confucian scholar and politician during the middle Joseon Dynasty. Ojukheon (Treasure No. 165) was Yi I's childhood home, the place of his upbringing. It was so named because it was surrounded by ojuk (black bamboos).


BACK (REVERSE) VIEW

"Insects and Plants" as appearing on the W50,000 bill is part of a eight-panel folding screen, painted by Shin Saimdang. Two more of the panels appear on the W5,000 bill: "A Cockscomb and a Frog" and "A Watermelon and a Katydid". 


W1,000


FRONT (OBVERSE) VIEW

Yi Hwang (Toeggye) was a Confucian scholar during the mid-Joseon Dynasty.

Myeongnyundang (Treasure No. 141) is the building in the Seonggyungwan where students were taught.



BACK (REVERSE) VIEW

Gyesangjeonggeodo (Treasure No. 585) is a painting of the seodang, where Toeggye stayed, and its surround scenery. It is one of the masterpieces drawn by Jeong Seon (Gyeomjae).


______________________________________________________________

Anyone can walk through the museum, but do pay attention that the second floor closes a bit earlier than the other floors (at 4pm). Reservations for a specific language guided tour are possible:


a high recommend!