Bangudae Petroglyphs, Ulsan

Two of my students put together this phenomenal presentation on the Bangudae Petroglyphs of Ulsan, and with their permission I am able to share their research. Thank you, Tae Ho and Sun-Hyung! I am so impressed with your 'sacred site' research!

For more on the mysteries of Bangudae, reference Duncan Caldwell's "Save the Prehistoric Whales". Duncan Caldwell is a archeologist, ethnologist, painter, poet, writer, lecturer, in short, a Renaissance Man!

Or visit the National Museum of Korea:

Bangudae Petroglyphs in Ulsan 
(National Treasure No. 285)

The carvings and line drawing on the rocky wall of Bangudae enable us to get a glimpse of the life of prehistoric people by means of vivid portrayals of their hunting, fishing, and festive activities. Among the whales, turtles, tigers, deer, and other animals represented here, some appear as being captured in nets or cages. One can also see people in boats and warriors dancing with their genitals exposed. It is assumed that the petroglyphs functioned as a sort of prayer for bounteous harvest and success in hunting and fishing.

Meaning of Dragons in Buddhist Temples

Dragons Who Guard the Buddhadharma and Temples

One of the most common designs adorning temples is the dragon. Dragon designs are not only common but also often decorate important features in a temple compound. They appear on the pillars and under the eaves of Dharma halls; on the ceilings, walls and canopies in Dharma halls; on the staircases in from of Dharma halls; in murals and on the hook from which temple bells are hung. 

What is the stature of dragons in Buddhism that make them so ubiquitous in temples? Dragons are guardian deities that protect Buddhas and the Buddha realms; they admire Buddhas. They also appear on the prow of the Wisdom Dragon Ship, a mythical ship that carries beings from the shore of this world to the other shore of Buddha's Pure Land. How is that dragons came to be embraced by Buddhism? Let's take a look at where dragons are found in a temple and also learn some temple foundation legends involving dragons.

A Sacred Animal and an Icon of Supreme Authority

What do dragons mean to Buddhism? In the West, dragons are often seen as an icon of evil. On the other hand, some Indian myths, the country where Buddhism originated, feature dragon gods, or naga, a serpent deity. In China and Korea, dragons are an icon of supreme authority and an auspicious creature of unlimited abilities. During Korea's Joseon Dynasty, the king's visage was referred to as yongan (literally, dragon face) and his clothes were yongpo (dragon robes). Although dragons are mythical creatures, they are described as sacred beings and symbols of the highest authority.

As Buddhism was gradually established in India and various indigenous deities were embraced as guardian deities of Buddhism, dragons were also embraced. In India, these dragon deities had the appearance of snakes. One such dragon deity had the form of a king cobra. One image of a dragon deity appears with Vishnu in a 6th century bas relief carved in the stone grotto located at Mamallapuram in southern India. It features a seven-headed cobra with one body. Similarly, other Indian dragon deities also had the form of a serpent, but as Buddhism spread to China, their outward appearance changed to that of a dragon, the form we are now familiar with in Korea. The typical physical features of a dragon include antlers on the head, scales on a serpent-like body, and four legs with sharp claws. Combining the characteristics of many animals, dragons sometimes have the head of a cow, the antlers of a deer, the tail of a fish, whiskers and a wish-fulfilling gem in its mouth.

As Buddhism was introduced from India and gradually established in China, the dragon deity shed the appearance of an Indian serpent and took on the appearance of a traditional Chinese dragon. Influenced by Chinese Buddhism, Korea also embraced the Chinese dragon. However, their similar appearance doesn't mean Chinese and Korean dragons have the same characteristics and symbolic meaning.

Two dragon heads protruding from the Main Buddha Hall at Heungguksa Temple in Yeosu. A Dharma hall is compared to a ship that journeys to the Pure Land along with the Buddha [sic]. The carved dragon heads on the pillar capitals symbolize the Dharma hall's role as the Wisdom Dragon Ship.

Protecting Sentient Beings and Guiding Them to the Pure Land

Dragons depicted in Korean temples have their own distinctive roles that combine the character of the Indian serpent deity and Buddhist symbolism into the traditional form of the Chinese dragon.

Western dragons are usually depicted burning people alive and imprisoning princesses. Unlike their evil Western counterpart, Eastern dragons have a different character, although retaining some of the violent characteristics of their Western cousins. Dragons in Buddhism have transformed their nature after being influenced by the Buddha and his teachings. Buddhism adapted the craftiness and great power of dragons and applied them to protect the Buddhadharma. A dragon without this transformation must remain an earth-bound monster with no chance to ascend to heaven. 

In fact, there is a deep association between the Buddha and dragons. When the Buddha was born, two nagas name Nanda (Nagaraja) and Upananda sprayed pure water over Siddhartha's body to bathe him. When the Buddha taught the Lotus Sutra, the eight dragon kings listened to his teaching and admired him. Dragon deities of dragon kings are one of the eight kinds of beings that protect the Buddhadharma: devas, dragons, yaksas (spirits of the dead), gandharvas (demi-gods), asuras, garudas, kinnara (heavenly demi-gods of music) and majoraga (snake spirits). 

After encountering the Buddha, dragons brought rains to make crops grow to feed sentient beings. Dragons are also the guardian deities of rivers and oceans, and protectors of the Buddhadharma and who ward off evil. 

In Buddhism, dragons guide sentient beings to the Buddha's world of wisdom, as in the case of the Wisdom Dragon Ship. Buddhism uses the symbol of a ship to explain the journey from this world to the "other shore" of enlightenment, the Pure Land. This mythical ship is usually depicted having a dragonhead prow and a dragon-tail stern. A Dharma hall can also be compared to a ship that carries Buddhists to the other shore where the Buddha resides. Some prominent dragon images found in a temple are: the two dragons that are carved on the top of the two pillars on the central facade of the Dharma hall, and the dragon heads protruding from the corners of the eaves outside a Dharma hall. The dragons on the central facade usually have their heads outside the Dharma hall and their tails inside the hall. The dragon faces protruding from the eaves are often at the front of a Dharma hall and their tails protrude from the the back of the building. This reinforces the symbolism of Dharma halls as the Wisdom Dragon Ship. The moment one steps into a Dharma hall, they are symbolically on a ship heading to the other shore. In other words, dragons are deities who transport sentient beings to the Pure Land.

A Wisdom Dragon Ship painted on the exterior wall of Geungnakjeon (Hall of the Pure Land)
at Silleuksa Temple in Jecheon.

Depictions of the Wisdom Dragon Ship are also found in temple murals. One the rear exterior wall of the Pure Land Hall at Tongdosa Temple in Yangsan is a picture of the Bodhisattva Guide of Souls and Ksitigarbha Bodhisattva guiding sentient beings to the Pure Land aboard the Wisdom Dragon Ship. Sailing through harsh seas, the ship has a dragonhead prow and a dragon-tail stern, with many joyous people in the cabin. Similar scenes may be found on the read exterior wall of the Main Buddha Hall at Bogwangsa Temple in Paju, and on the right side exterior wall of the Pure Land Hall at Silleuksa Temple in Jecheon.

Who is the tenacious Bodhisattva clinging to a rope? Tenacious Bodhisattva, or "akchak Bosal", refers to the humorous depiction of a woman who was too late to board the Wisdom Dragon Ship but was determined to go to the Pure Land, even if she had to cling to rope trailing behind the ship. There is no written record of her, but this is the story that has been passed down orally.

Once upon a time, the Wisdom Dragon Ship docked to take on people bound for the Pure Land, people of deep faith who had accomplished many virtuous deeds and accred great merit. One woman lingered too long bidding farewell to her children, and found the ship pulling away when she arrived. She caught a rope thrown to her by the boatman and arrived in the Pure Land by tenaciously holding onto the rope. She has been called the Tenacious Bodhisattva since then, and became a model for practitioners who practice fiercely with a vow to attain enlightenment in this life. The way she is depicted clinging to the single rope may symbolize single-minded adherence to the path.

Finding the Hidden Dragons in a Temple

Dragon images have different meanings according to their location.

Buddhism uses the dragon design to protect sacred spaces. Other designs used to adorn temples include lotuses, chrysanthemums, Asian plums, lions, elephants, fish, monkeys, and even mythical creatures like phoenixes and dragons. Among these, dragons are one of the most powerful features that protect the Buddha realm and are found in many places in the temple compound. Where can we see these dragons and what are their meanings?

Temple decorations are usually referred to as "adornments" as they embody the ideal world of the Buddha realm that is filled with beauty and dignity. Dragons have different meanings depending on where they are carved or painted. First and foremost, dragons are considered deities who protect the Buddhadharma.

Dragons Have Become Protectors of the Buddhadharma

At the entrance to most temples are bridges that symbolize liberation. They remind us that before entering the Buddha realm of a temple, we should wash away our afflictions symbolically as though in a running stream. These bridges are often appropriately named with names like: Geungnakgyo (Bridge of the Pure Land), Neungheogyo (Bridge of Ascension to the Void), Seungseongyo (Bridge of Aspiring Hermits), Sesimgyo (Bridge of Washing the Mind) and Haetalgyo (Bridge of Liberation). Sometimes a dragon's head protrudes from underneath these bridges. One example is Seungseongyo at Seonamsa Temple. The dragon's head is not clearly visible unless one walks down to the mountain stream. It was not meant to be a decoration but to ward off any evil that may infiltrate the pure realm of the temple. 

A dragon head hidden underneath the stone bridge named Samcheonggyo at Songgwangsa Temple in Suncheon. The dragon wards off evil forces to keep them from infiltrating the pure realm of the temple.

A similar bridge is found at Songgwangsa Temple. The stone bridge, named Samcheonggyo, also has a dragon's head underneath it to protect the temple. Crossing this bridge we enter the temple compound. The Gate of Heavenly Kings enshrines the four heavenly kings who guard the four cardinal directions. Each king holds one or two symbolic objects in his hand. 

• Dhrtarastra rules the east and has great power to protect the state; he holds a lute. 

• Virudharka rules the south and has great power to cultivate life; he hold a sword. 

• Virupaksa rules the west and sees all with wide open eyes; he holds a dragon and a wish-fulfilling jewel (cintamani). 

• Faisravana, who rules the north, is the head of the four heavenly kings; he holds a stupa and a three-pronged spear. 

Among these four, it is Virupaksa, ruler of the west, who controls the dragons, which are said to control the clouds, rain and thunder, as well as to rule the whole world. Living in the west on the midriff of Mt. Sumeru, Virupaksa guards the western lands with his large, wide eyes and helps sentient beings.

Hidden Meanings of Dragon Adornments

Dragons, whose function is to praise the Buddha and protect the Buddha realm, are found inside Dharma halls too. They are carved or painted on the wooden canopies above Buddha statues, on main crossbeams and on ceilings. In particular, dragons depicted on canopies symbolize protection of the Buddhadharma and the supreme authority of Buddhas.

Canopies in Buddha halls always feature dragons to symbolize the protection
of the Buddhadharma and the supreme authority of the Buddha.

At Buseoksa Temple in Yeongju a coiled dragon is carved into the wooden canopy in Muryangsujeon, Hall of Immeasurable Life, known as the oldest wooden structure in Korea. The dragon is holding its head up and looking straight ahead. On the wooden canopy in the Main Buddha Hall at Heungguksa Temple in Yeosu, three dragons thrust their heads from behind two phoenixes. These dragons are also looking straight ahead as if to guard against any evil that might approach the Buddhas seated on the altar.

Meanwhile, the dragon design of the jongnyu, the hook from which a temple bell is hung, has a wide open mouth without any wish-fulfilling gem. Also called "yongnyu", the dragon on this hook is aid to have a resounding cry. That's why this dragon is depicted on the bell hook so that the Buddha's teachings can reach far out into the world. Among these bells with dragons on their hooks, you may want to check out the temple bells at Sangwonsa Temple in Pyeongchang, Naesosa Temple in Buan, Gapsa Temple in Gongju and Yongjusa Temple in Hwaseong. Of these, the beautiful bell at Sangwonsa is the oldest. The dragon head on the hook is very big, and its jaws are open wide as if it is shouting. The dragon on Naesosa's bell is bent into a loop and its mouth is also wide open. 

Most of the dragon designs on a jongnyu, the hook from which a temple bell is hung,
have a wide open mouth with no wish-fulfilling gem.

The body of a Dharma drum, struck to save all land-dwelling animals, is covered with dragon images because the sound of a Dharma drum reverberates sonorously with all the majesty of a dragon. 

On the roof of a Dharma hall, both ends of the ridge line on the roof are decorated with tiles featuring a dragon head; this is called "chimi". Dragons are also often depicted in temples because of their association with water. In Korea, the dragon is the god of life who rules all watery realms. They live in ponds, wells, rivers and oceans, and control water by giving or withholding rain. By placing dragons on the roof of a Dharma hall, Korean ancestors wanted to protect monasteries, the abode of Buddhas, from fire.

As can be seen, dragons are ubiquitous at temples, appearing under bridges, on canopies and on the pillars of Dharma halls. They are there to maintain the temple's purity and protect the Buddhadharma while the dragon designs on temple bells and Dharma drums are intended to propagate the words of the Buddha far and wide.

Interesting Dragon Myths Passed Down at Temples

In Korea, dragons are regarded as one of the four spiritual animals, along with giraffes, phoenixes and turtles. Though a mythical creature, dragons rank highest in the animal hierarchy and exercise supreme authority. That is because they lent a helping hand when humans needed them. Many legends depict dragons as guardian deities who exert their diverse talents and possess great powers. Buddhism in particular has regarded dragons as the protectors of humans and the Buddhadharma. Thus, it is not surprising that many temples have dragon legends. 

Many Korean temples have names which include the syllable "yong", (literally, dragon). Dragons also appear in temple foundation legends. Yongusa Temple in Hwaseong had its name bestowed by King Jeongjo (Joseon's 22nd king, r. 1776-1800) who saw in his dream a dragon ascending to heaven holding a wish-fulfilling gem in its mouth. It is true that dragons (or nagas) were embraced by Buddhism in India. But dragons were already important deities in Korea's indigenous faith, and as Buddhist temples were established in Korea, people wanted to maintain this association with dragons. This is apparent in the name of Yongjusa.

What Kind of Dragon Legends to Temples Have?

Dragons are a part of many interesting myths in Korea. Buddhism in particular has an intimate relationship with dragons, and many temples pass on various dragon-related legends. In 553, King Jinheung (Silla's 24th king, r. 540-576) had workers clear land to build a palace, and while they were digging, a yellow dragon appeared. Regarding this as an extraordinary omen, King Jinheung had a temple built instead of a palace and named it Hwangnyongsa (literally, Yellow Dragon Temple). Later, when eminent Silla monk Jajang was on his way back to Silla from Tang China, he encountered a dragon deity. This dragon deity told Jajang how to lead Silla to security and prosperity. The dragon deity said, "The dragon who protects Hwangnyongsa Temple is my oldest son. He guards the temple under orders from Brahma. If you establish a nine-story pagoda there when you go back to Silla, and a temple in the southern region of Gyeonggi-do, your state will enjoy peace." Back home, Jajang honored the dragon deity's advice and erected a nine-story pagoda at Hwangnyongsa and also established Taehwasa Temple.

Buseoksa Temple in Yeongju passes down the story of Seonmyo, a girl who transformed into a dragon goddess. One day the Silla monk Uisang stayed in a village overnight on his way to Tang China. A village girl named Seonmyo, who greatly admired Uisang, made a vow that he must return safely and teach Buddhism far and wide in Silla. She then threw herself into the ocean and became a dragon. Sometime later, a hostile crowd tried to obstruct Uisang's plan to build a temple, so the dragon goddess Seonmyo lifted a gigantic boulder in front of them. They ran away, and Uisang was able to establish the temple. In consideration of the dragon goddess' help, Uisang named the temple Buseoksa, meaning Floating Stone Temple.

Other temple foundation legends also involve dragons. There is a pond named Guryongji (literally, Nine Dragon Pond) by the Main Buddha Hall at Tongdosa Temple in Yangsan. The site where Tongdosa now stands was originally a great pond where nine dragons lived. In order to build a temple there, Vinaya Master Jajang asked the dragons to leave but they refused. Then Jajang set fire to a talisman, which made the pond hot. Due to the unbearable heat, five dragons ran away, and three died colliding with boulders during their escape. Only one blind dragon was left, and he asked Jajang if he could remain and guard the temple. Jajang granted its request, and preserved a corner of the great pond for the dragon to live in. This pond is still called Guryongji.

Another legend of nine dragons involves Guryongsa (Nine Dragon Temple) Temple on Mt. Chiaksan in Wonju. Guryongsa's foundation legend also involves a confrontation between a monk and nine dragons. When Uisang planned to establish this temple, the current site of the Main Buddha Hall was a pond inhabited by nine dragons. The nine dragons displayed their power to him by causing a torrential rain accompanied by thunder and lightning. Uisang remained unruffled. In response, Uisang drew a talisman and placed it in the pond. The water began to boil, and the stunned dragons fled. One of the dragons couldn't go very far and found shelter in a nearby pond. That pond is named Guryongso and is one of the eight great scenic sites of Wonju City.

The temple ruin of Ongnyongsa in Gwangyang also has a legend involving a contest with nine dragons. In this story, eight dragons converted to Buddhism while one remaining white dragon resisted. 

As can be seen, there may be minor variations, but many temple foundation legends involved dragons in one way or another.

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The article and the pictures were all taken from the quarterly Templestay Korean, Vol 5: No 3, Autumn 2016. The article, "Dragons Who Guard the Buddhadharma and Temples: They Admire the Buddhas and Protect the Buddha Realms" was the feature article.

Hallasan: Holy Mountain

(YouTube) Ascending South Korea’s Most Respected Mountain (4:34)

• Halla Mountain is a holy mountain based on folklore: 

• Halla Mountain functions as the Mother Nature of Jeju Island

• To climb the mountain one needs humility and respect, not just strength and perseverance, because even the spirits who visit her are captivated by her grandeur.

• Halla Mountain is South Korea's most spiritually divine mountain. Known also as Yeongjusan, "mountain high enough to pull the galaxy," which means it is high enough to draw the aura of the whole universe.

• Jeju Island was created by Seoulmoondae Halmani, a goddess who gathered clumps of earth in her skirt and then flung them into the sea creating Jeju Island and the largest flung clump became Halla Mountain, the holy mountain where 500 of her sons were placed. A group of rocks known as the 500 Generals on the Yeongsil Trail (on the southwestern part of the mountain) are the sons of Seoulmoondae Halmani. And according to legend, with the death of the goddess her sons turned to stone to eternally mourn the passing of their mother.

• The white deep on the mountain is the symbol of fortune on Jeju Island. On the deer the spirits descend to play on its back. 

• The mountain rewards those who respect her, and the traveler who climbs to the top of the mountain on a dark night and calls to the stars with heartfelt gratitude for their long journey, as legend has it, the person will be blessed with health and longevity.

The Many Names of Hallasan

Halla Mountain is a mountain steeped in folklore, and has a variety of names stemming from legends and circumstances:

Hallasan —  Han represents the universe, and la means "pull". Both words mean that the mountain is high enough to pull the universe. According to the old legend, if anyone were to climb up the mountain, see a star and call out noinseong (노인성), they could live a longer life.

Jinan —  The name represents a mountain that is located at the back side of a town and protects the town's residents. Jeju people called Hallasan Jinan because Hallasan blocked winds that were blowing from the Pacific Ocean and also protected the residents.

Dumuak — Dumuak is another name for Hallasan. The name represents the bold head mountain. According to a legend, a hunter accidentally ripped God's belly button. God expressed his anger by ripping off the peak of Hallasan. The remaining part of the mountain became Baengnokdam (백록담) and the ripped part of the mountain became Sanbangsan (산방산).

Wonsan — Wonsan became the name of Hallasan because the center of the mountain is the highest point and the mountain looks like a circular cone. On a very clear day, Hallasan is visible from the mainland.

Yeongjusan — Yeongjusan was believed to be a habitat for a plant species that made people immortal. According to a legend, immortal wizards of Korea used to live in Hallasan. They were immortal because of this special plant. Qinshi Huang wanted the plant to live forever and ordered his men to get the plant (200 AD).

Buak — Buak became the name of Hallasan, because of the peak of the mountain. The crater of the mountain looks like a big pond. According to a legend, a white deer used to drink the water here.

Jeju, Island of Samshinsan or "Islands of the Blest"

The extinct volcano (5850 feet of 1950 meters) which last erupted in AD 1007 dominates Jeju Island. Ancestry on Jeju is unknown, but a mix of indigenous Koreans, Chinese from the north, Malayans from the south, and perhaps Japanese from the east is likely. During Neolithic times a unique culture developed on the island, and legends speak of the great mountain being the dwelling place of a race of giants and various mountain spirits.

But what really made Jeju "known" to the world is based on a legend of mythical discovery. By the end of the first millennium BC, Jeju-do had entered the realm of Chinese mythology as one of the islands of Samshinsan, or Islands of the Blest, also called the Three Holy Mountains. These legendary isles were said to have the sacred fungus of immortality growing in great abundance. 

This sacred fungus was probably the Amanita muscaria mushroom, also called Fly Agaric, which figures prominently in the shamanic and religious mythologies of lands from far eastern China, India, and Siberia all the way to the Celts of Europe and the Laplanders of Scandinavia. Known as Soma in ancient India, this brilliant red mushroom with white spots is familiar to people of European descent because of its association with children's fairy tales, magical dwarfs, and the cape of Santa Claus.

Anthropological studies of the mythology and sacramental use of this potent psychotropic (vision-inducing) mushroom have shown its extensive associations with the emergence of proto-religious traditions throughout the world. (Readers interested in this fascinating subject should consult the writings of ethnobotanist Terence McKenna.) 

These hallucinogenic mushrooms were once found growing in the forests of Halla San, in the Yeong-shil or "Spirit Place" wilderness that is the ritual gateway to the sacred peak. One of the three Samshinsan holy islands was known as Yeongju, which is the first of several historical names of Jeju-do. Yeongju San, meaning "Mountain of the Blessed Isle," was believed by the ancient Chinese to form a sort of bridge between heaven and earth. At a later date, when the Milky Way galaxy was believed by Neo-Confucian societies to form the connecting link between the heavens and the earth, Yeongju San became Halla San, "The Peak That Pulls Down the Milky Way." This image of heavenly energy flowing down upon Jeju-do offers one explanation for the supernatural phenomena mentioned in the ancient myths of the island.

In the middle of the volcanic crater atop Halla San lies a small lake called Baengnok-dam, or White Deer Lake. Legends mention this lake as the abode of angelic presences and the site where benevolent wizards would descend to ride on white deer along the shores of the lake.

And some pictures of Hallasan taken at the National Museum of Korea, Hallasan Branch:

Jeju Island in painted glass in the domed ceiling of the National Museum of Korea, Jeju Branch

A collection of attractions and memories posted in the National Museum of Korea, Jeju Branch

Olle trail experience - the biking/hiking/touring trail that circumnavigates Jeju Island, National Museum of Korea, Jeju Branch

Map of the rocks of Jeju Island [Korea has quite the igneous record around the country, with Jeju, Ulleungdo, and southern coastal jagged shorelines attracting the most interest.]

Distribution map of the dang (shamanic shrines) of Jeju Island, National Museum of Korea, Jeju Branch

Some pictures at the peak of Hallasan with its crater quite full because of heavy rains the previous day. How lucky we were to see the water in a seasonally dry crater!

Coming out of the tree line and approaching the peak!

Looking back .... we're even above the clouds! What a feeling of space and surrealness!

Looking back as the clouds rise and what appears to be people keeping strides just ahead of the billows.

The crater of Hallasan!

A closer look :)

The descent .... wish we could have taken pictures of the three roe deer we saw! We probably wouldn't have stopped to look for them if we hadn't heard their barking which sounded like loud, terrified injured dogs!

The onmipresent beggars at the peak and at the rest stations.

Crows will eat anything. I fed these guys walnuts, the only thing I hadn't yet eaten on the trip up. These guys seemed quite happy ... a bunch of beggars, and demanding ones at that!

Candid shot of a greedy sucker!

Hanok: Traditional Residence Architecture in Seoul

Among the fine traditional Korean houses which have been transported from elsewhere to form the Namsangol Hanok Village, at the foot of Namsan, stands a house built by master craftsman Lee Seung-eop. The house originally stood in Samgak-dong, next to Gwangyo Bridge over Cheonggyecheon stream, but in the course of development and redevelopment, the house recognized as a fine specimen of middle-class architecture, was dismantled and reconstructed in a collection of other hanok to create the Namsangol Hanok Village. The house was originally known as 'Hongmun (Red Gate) Seot-gol (Standing Town), Ibyeokdong-daek (residence of Ibyeokdong)'.

This remarkably fine house with unusual embellishments was built for his own use by Lee Seung-up, the master builder who worked on rebuilding Gyeongbok Palace in the latter half of the 19th century. Gyeongbok Palace, which had fallen into disrepair over many decades, was ordered to be restored by Heungseon Daewongun (1820-1899), the father who ruled in stead of young King Kojong (1852-1919).

Approximately a decade after master carpenter Lee Seung-eop constructed this house, he encountered financial hardships and was forced to sell, whereupon in 1889 the yangban grandfather (Kyoungju Lee clan) of Lee Sang-oak, our tour guide but of no direct relationship to builder Lee, purchased the house. Three generations of Lee (Yi) lived in the house: Yi Chaeyun (1837-1917), Yi Chong'ik (1889-1966), and Yi Yong'u (1917 - ??? [the book was published in 1998]). 

Lee Sang-oak, our guide, was born in this house, as were his two sisters and elder brother. He lived there until 1964 (he was about 20) when the house was sold to P'unghan Company and remodeled. From 1970 - 1996 Cho Heung Bank used the residence as a small bank museum. During that time, in 1977, Seoul city government designated the residence as City Cultural Asset No. 20. And finally in 1996, the house was sold to the City of Seoul along with four other residences around the city and all five were relocated to the north side of Namsan with the intent of making a park for the preservation of traditional architecture.

Guide Lee Sang-Oak told us stories of his growing up, the foods and cultural events enjoyed by the family, the symbolism and in particular the pungsujiri (geomantic principles) employed in the architecture, and other insights about the construction of the home, its impact on King Kojong (story later!), and details about personal life. Whoever really considers the stories the walls can tell if someone is willing to patiently listen!

Dr. Lee Sang-Oak and Brother Anthony, friends that go way back, explaining the topography of Seoul and why the original location of his house was so propitious. Located in front of the "Red Gate" entrance to his former house/courtyard.

Dr Lee Sang-Oak explaining the functions of the various parts of the house ... and how they were originally, and then after "renovation". Basically, as one historian puts it, "the city butchered his house". To give examples, brick walls are now plastered, whitewashed walls, the ondol passageways are minuscule and nonfunctional now, the traditional three-steps leading to the house were reduced to the convenient one. [Three steps up meant as a person approached house of prestige or standing, the visitor had to look up and be struck by the grandeur created by height.

Evidently the Namsangol Falconer's Organization has an operator here. There was always a stream of kids around the guy with his kestrel and his falcon. He didn't mind if people touched the larger bird either ... and the bird didn't seem to mind either!

For W5,000 a person could have the kestrel fly and land on his or her hand.

Petting was encouraged!

"Commercial" over, now back to Dr. Lee Sang-Oak. Dr. Lee showed up the geomantic symbols. The whole house had symbols hidden on walls, corners. roof beams, and more.

Pungsujiri (geomatric symbols here): the inverted swastika for Buddhistic thought, bats, trigrams like those found on the Korean flag (each trigram represents a humor: earth, air, etc), clouds, patterned windows for well wishes, ...

 

Originally this was the men's residence and was just a single room. Now it's divided into guest residence rooms for privacy.

Even the bird looks at the woman in hanbok gliding around the grounds.

A bit of entertainment for the foreigners and kids who visit the hanok village: "Walk Like a Yangban". Walking like a yangban was to walk confidently (thus, the wide appearing tiles for "authentic" practice),

The Red Moon Gate, the single entrance to the house: Originally the gate stood tall and proud like this one. What's interesting is that when there were no high-rises, King Kojong could look out of Gyeongbokgung and see ... the Red Moon Gate, and supposedly, discomfited he asked, "Whose gate is that?" And once he found out ... the Lee family was asked, which means told, to lower the gate so that King Kojong wouldn't see a gate taller than himself in the near distance. Of course they lowered the house ... and had to bend way down in order to enter, which conveyed indirectly humility to the king.

A spring look at Dr. Lee's former residence.

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About our guide and the author of the book on his first home:

Book: A Traditional Residential Architecture in Seoul: A Study of the Yi Byeokdong Residence of Hongmun-dong (1998), Hollym University Press.

Sang-Oak Lee earned his B.A. and M.A. from Seoul National University, an additional M.A. from the University of Illinois, and a Ph.D. in Linguistics with a doctoral fellowship from Harvard University. He is now an emeritus professor at Seoul National University, where he was for many years a professor in the Department of Korean Language and Literature.

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The essentials about the house -- from Dr. Lee Sang-Oak's book (pp 10-13).