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. 

Korean Stone Art Museum: Symbolism and Stone

The Korea Times - March 25, 2016

Asiana, Monthly In-flight Magazine - November 2016

Korean Heritage (web site)

At the Korean Stone Art Museum, all of the stones represent not only cultural art of the past but the symbolism of life beliefs as well!

Muninseok – stone figures representing Joseon literary officials. They are attired in official robes and winged hats or golden headgear (depending on statuary) and carrying a hol (an object held by courtiers when granted an audience with the king). These official garments were worn by courtiers when they participated in national occasions like the king’s wedding and in the national rite for worshipping the late kings and queens of the Joseon Dynasty. During the Joseon era, a pair of stone officials was placed in front of a royal burial mound to serve as guardians of the king’s tomb, along with janggunseok and other animal-shaped stone sculptures similarly symbolizing protection of the graves against evil spirits.

Janggunseok – stone statue of military officers equipped with armor, a helmet and swords. Janggunseok and muninseok were placed in the foremost position in front of the grave mound of the king and together with animal-shaped stone sculptures they guarded the king against evil spirits. The demonic faces often engraved on the hilt of their swords and on the guardian’s shoulders represents warding off evil spirits and providing protection.

Dongja – “child attendants” were placed at a tomb of a person of exalted social class and were believed to serve as messengers of the gods. Therefore, these messengers each held or carried wish symbols—e.g. lotus flowers for prosperity and longevity, a bat symbolizing happiness and fertility, a fan for warding off evil spirits and bringing good fortune. Prayers to the dongja were believed to be realized.

Inside is a Hill of Prayers with a collection of dongja, each having a representative symbolic message

Outside is another dongja collection, with each dongja playing or participating in some mode of daily life—e.g. holding traditional instruments, holding kitchen utensils or playing traditional games. These instrument carvings are also seen on beoksu.

Dongjaseok (not to be confused with dongja, the child attendant) is the stone figure of the dongja. Found in and around Seoul, these sculptures were placed before the graves of high-ranking government officials or members of the royal family, except of high-ranking kings and queens, during the 16th – 18th centuries. Wearing plain clothes at times and other times cloaked in heavenly robes and double-knot hairdos, they were believed to connect the world of the deceased with that of the mourners. They stand obediently and submissively in front of the graves.

Dongja were deemed to serve various gods in Taoism, the Buddha in Buddhism, and the occupants of the graves in Confucianism. Therefore, the shape and role of dongja vary from grave guardian to village guardian, depending on the religious thought. The early child attendant images were highly decorative and vibrant as shown by Buddhist works, but they were gradually superseded by simpler and more austere images under the influence of Confucianism. The statues were often combined with muninseok, or stone statutes of civil officials, after the 17th century, resulting in the disappearance of their original characteristic features.

Beoksu – the stone version of the wooden jangseung (yin and yang guardians), which were placed at the entrance of a village as guardians to frighten away demons and ward off evil spirits and illnesses from penetrating the community. Since beoksu were thought to possess superpowers that could bring good fortune and prevent troubles, people prayed to them in the hope of making their wishes come true.

Though beoksu drove away evil spirits, they did not have a scary look, nor did they have a standard appearance. Various forms with candid and often humorous faces reflected people’s traditions and regional beliefs and practices. 

Some beoksu held pipes as the pipe is a symbol of tranquility and prosperity. And there is the legend of the manpasikjeok, a pipe from Silla, in which people believed that, once the pipe was played, the country would not experience any conflicts. Similarly, playing the pipe was believed to subside waves, a belief also dating back to the Silla Dynasty. Other beoksu had turtles carved on them; in folk belief and Taoism the turtle symbolizes good health, fertility, and longevity and so is one of the 10 traditional longevity symbols. Others held a crane, another longevity symbol and also with auspicious indications, a sickle symbolizing harvest and abundance. or a sword, the symbol of protection. Others simply had a house carving on them, the nest of prosperity and representing the microcosm. During the later part of the Joseon Dynasty, as the incidence of smallpox worsened every year, people started to have a folk belief that beoksu, a Korean traditional totem post, would keep them away from smallpox. Some beoksu even had the character ho(虎) for tiger carved on them, which embodied the villagers’ wish for good health. 

Each house had a carved beoksu, a Korean traditional totem pole, signifying the prosperity of a village community. Beoksu stones are representative of the common people and therefore were more carefree and humorous, and often representative of the character of the regions where they were carved.

Jangmyeongdeung – a stone lantern was placed to light up a graveyard. Its spiritual function for the deceased was to pray for eternal life and enlightenment in the heaven. According to Joseon dynasty (1392 – 1910) law, only high-ranking officials were allowed to place the lantern at their grave mounds. Symbols appear on the sides, e.g. a bat symbolizing happiness and fertility, a cloud for immortality and abundance.

Mangjuseok – stone pillars placed on each side of a grave

Hamabi – dismount markers. Markers such as this one, which commanded “all officials to dismount from their horses” as a show of respect, were placed at the entrance to a palace or the royal ancestral shrine of Joseon Dynasty. Depending on their rank, officials were required to dismount at a specific number of paces before the entrance, e.g. senior officials were required to dismount 10 steps before it, mid-ranking officials 20 steps, and low-ranking officials 30 steps. 

Prayer for rain stone – a dragon-engraved stonework used in rain rituals. As dragons were symbolically portrayed as the “god of water” in many Eastern cultures, precipitation rituals were held in the presence of a dragon-engraved stonework or in front of a dragon-shaped rock or well.

Stone Buddha – the statue of Buddha made by civilians showing austere and natural beauty

Deva King (Vajradhara) – one of the guardian deities in Buddhism, usually positioned to the left and right of temple gates to repulse evil spirits

Picture Credits:

While I took many pictures while at the Korean Stone Art Museum, I didn't get a representative shot of all of the categories listed above, so to be consistent in providing example pictures, I've only posted picture carefully clipped from the Google Arts & Culture collection for the Korean Stone Art Museum, so all photo credits go to them.

About the collection, it was first launched under the name of the Google Art Project on 1 February 2011, with the goal of collecting high-resolution images of artworks housed in partner museums around the world and creating a cyber platform with "walk through" features, providing information on galleries and artworks. By April 2012 the art project platform had signed agreements with 151 museums in 40 countries, and in 2016 the Korean Stone Art Museum was added to the online digital collection. As of the end of December 2018, 45 museums in Korea have had representative collections digitalized and posted on the Google Arts & Culture collection, the revised name the Google Art Project. The Korean Stone Art Museum is one of these 45!

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.

____________________________________________________________________

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.

___________________________________________________________

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

The Royal Tombs of Joseon Dynasty

Jinny Hwang Inhee presented on the Royal Tombs of Joseon. She is an expert and has made an in-depth study of the Joseon Dynasty royal tombs, and in her expressive slide show she explained many of the characteristic features of the tombs. Jinny Hwang Inhee, a graduate from the Civics Education Department, Ewha Womans University, spoke in Korean and Kim Jaebum, a RAS Council member, provided English translation. Jinhee is a writer and an educator. Since 2013 she has been serving as President of the Durumari History Education Institute.

A write-up of her presentation is as follows: 

The Joseon Dynasty, the last period in Korean history before the Japanese annexation, was founded by General Yi Seonggye in 1392 and forcibly annexed to the Japanese Empire in 1910. While the dynasty lasted for 519 years, 27 kings and 45 queens reigned, including the last two with the title of “Emperor” with their empresses in the Daehan / Korean Empire. In all, 42 Joseon royal tombs including two in Gaeseong, presently North Korea, are preserved, virtually all that were built. The 40 of them located in South Korea are registered by UNESCO as a World Cultural Heritage not only for the aesthetic value of their sculpture but also for the entirety of their preservation. 

It is also amazing to note that the royal ancestral rituals jerye have been observed continuously for 623 years. The main Jeonju Yi family Jongyagwon had to overcome difficulties following the demise of the dynasty to continue the ritual at the graves, while that held at the main shrine of Jongmyo, which is now held once on the first Sunday of May each year, is also a UNESCO World Cultural Heritage.

JOSEON DYNASTY

• last of the Korean traditional dynasties
• founded by General Yi Seonggye in 1392
• 27 kings & 45 queens
• from 1392 - 1910, a span of 519 years
• royal tombs - a graveyard exclusive for kings and queens

Joseon Royal Tombs

• 42 tombs in total = 40 in South Korea + 2 in Gaeseong, present-day North Korea
• the 40 tombs in South Korea are UNESCO World Culture Heritage, and they are protected for their aesthetic value and must be preserved in their entirety
• all within 44 kilometers of Seoul, the capital

• 2 in Yeoju, Gyeonggi-do

• ? in Yeongweol, Gangwon-do 

(click to reach the interactive map on the location of the 42 royal tombs)

FUNERAL

Ancestral Rites

• Jongyagwon, for the main Jeonju Yi family
• rites at royal tombs continued even during Japanese occupation
• Jongmyo Jerye 

• 1st Sunday of May each year

• UNESCO World Cultural Heritage

• continued for over 600 years

King or Queen Dies

• establish gukjangdogam
• place corpse in jaegung and keep it at binjeon
• observe rites and mourn for 5 months
• no preservatives or cooling facilities
• cultivate juniper for incense

Constructing Tombs

• select site
• form mound and excavate 3 meters deep
• make room for stones or lime walls
• stone sculptures to decorate
• build jeongjagak at entrance
• erect hongsalmun gate 

(read more about tombs and their terms)

Burial and Rites

• 5 months after demise
• take soul in shinju back to the palace
• rites in honjeon every morning and evening for 3 years
• move shinju to Jongmyo
• royal name, the myoho, is given
• queen's soul to Jongmyo 3 years after king's death

Location and Feature

• best location: big mountain to the north, low hills to the south, views to the east and west
• features differ between each era based on:

• state law

• extent of royal power

• political circumstances

• economic conditions

• topography of the site

Basic Structure

• jaeshil at entrance
• geumcheongyo bridge
• baewi

Chamdo: Path for Worship

• long stone path for hongsalmun
• left: shindo - soul, tomb owner
• right: eodo - lower status on up to ancestors
• soul-tablet in yellow cloth on shindo

Staircases

• left: luxurious patterns for souls
• right: without ornaments for kings
• down staircase behind the palace
• soul to neungchim to fall quietly to sleep, no stairway to come down

Jeongjagak

• exclusive for royal tombs (if at other tombs, people arrested and killed as traitors)
• entrance and exit:

• direction decided and must connect to chamdo

• enter from the east: sunrise, beginning, birth, spring, etc.

• leave toward the west: death, extinction

Smaller Annexes

• subokbang - on right before jeongjagak; for tomb keeper and night duty
• suragan - royal kitchen on left; prepare food and offerings
• bigak - a little further inside and on the right; tombstone etching on whose tomb

Sachoji or Gang

• hill behind jeongjagak
• unique style of Joseon royal tombs
• 2 meanings of gang:

• tank for storing vigor streaming into the soil

• demonstrate dignity as power

• hiking precluded - somewhat open to the neungchim at the front

Museogin and Munseogin

• stages divided by stones on top of sachoji
• lower stage: museogin and maseok - have warrior-shaped generals with swords
• middle stage: munseogin and maseok - have officials, most of whom are scholars
• interpretation: "The pen is mightier than the sword" meaning literary preference over military 
• reign continues posthumously
• variations in garments by king:

• museogin placed only in royal tombs

• civilian graves considered treacherous

Neungchim

• top stage - burial mound neungchim
• gokjang:

• walls and roof tiles surrounding 3 sides

• sun, moon, stars

• resemble palace buildings' back walls

• royal tombs as epitomes of the palace

Seogmul and Honyuseok

• seogmul - in front of gokjang

• yangseok - sheep = obedience; repel evil

• hoseok - tiger = loyal; patron neungchim

• honyuseok - in front of neungchim

• for offerings in ordinary graveyards

• "stone where the soul plays"

Goseok and Mangjuseok

• goseok - stones supporting honyuseok look like drums

• guimyeon - faces of ghost or goblin

• mangjuseok - on each side of honyuseok: "observing stone poles" with several hypothesis about their use:

• sign for soul from body to find neungchim

• device to harmonize yin and yang

• instrument to hold vigor from being scattered 

• columns a division between this world and the next

Seho and Jangmyeongdeung

• seho embossed on stone poles

• shape of ear with holes

• developed into animal shapes

• some not like tigers but wizards

• jangmyongdeung to honyuseok

• to pray for souls of the departed

• shape altered in each era

Conclusion

• scale gradually shrank - later kings were more pragmatic
• initial period of the kingdom:

• conscripted manpower 5,000 for each tomb

• construction work - up to 5 months

• mobilized personnel to carry food

• construction bothered people

• great agony on people in Gyeonggi where a large number of royal tombs have been built

• their endeavor and perseverance enables us to possess World Cultural Heritage today

Books Published:

Other notes:

• gukjangdogam - nation-wide royal funeral 

• In inclement weather when the body began to smell, the court spread juniper branches.

• 일월성신 - sun, moon, star decorations on the wall that surrounds the tombs

• 선장릉 - When UNESCO came to evaluate the tombs as a future UNESCO World Culture Heritage site, the Korean government didn't want to show the 선장릉 because there was no body inside. Eventually they did and it was highly regarded, especially as it was on very valuable land.

• The Silla and Koryeo Dynasty tombs were traditionally built on flat ground, but in the Joseon Dynasty, tombs were built on the top of artificial mounds.

• Today, there are three places where royal ancestor worship are held - the dates:

• 1st Sunday of May (solar calendar)

• each ancestor's memorial day

Korean Story-telling: Ancestral Memorial Rite for General Kim Bang Gyeong

Story-teller Seung Ah Kim and her extended family hosted a very unique trip to the Andong Kim family ancestor memorial rite ceremony for the Andong-Kim branch founder, General Kim Bang Gyeong. Ancestor General Kim dates back to the Goryeo Dynasty in the 13th century. The Andong Kim family gathers annually for the sije rite and this year opened the rite to the public.

Sije is the seasonal rites held for ancestors up to five generations past and is typically performed annually on the tenth lunar month, the best month of the year's harvest. To run smoothly, it needs financial support so the family prepares for three things: wito (money for the food and setting the table), seonsan (mountain for ancestral tombs), and jaesil (place for food preparation and rest). These three components do vary from family to family.

Sije for General Kim Bang Gyeong is held every October 9 (lunar calendar) in front of the tomb in Andong. If its rains it is held at Eumsujae, the main building, in Neungdongjaesa established only for General Kim. The day before sije the ritual team gets together to discuss the important agendas and select three eldest males for offering rice wine three times one after another with rituals assistants. 

Kangshinrye - greeting rituals to call the spirit down. Choheongwan (the first host) burns incense and pours rice wine over the burial mound three times and then bows twice.
Chamshinrye - all the participants bow twice 

Choheon - Choheongwan (the first host) offers the first rice wine and bows twice
Dokchuk - Chukgwan (reciter) recites an eulogy 

Aheon - Aheongwan (the second host) offers the second rice wine and bows twice 

Jongheon - Jeongheongwan (the final host) offers the final rice wine and bows twice 

Yusik - food offering rituals to the spirit. An assistant sticks a spoon into the center of the rice bowl facing eastward and puts a pair of chopsticks on top of the bowl also facing eastward 

Sashin - farewell ritual, bowing twice 

Eumbok (drink blessings) - participants share the ritual food and drinks as it symbolizes the receiving of the blessings bestowed upon the family 

Bunchuk - burn out all chukmun (eulogy)

I was very curious why such a private family ceremony would be opened to the public, and the answer is that "History needs to be shared!" Great answer! 

In particular, three of the elderly men of the clan have done extensive research on the family and published articles and books on the family history, specifically that of General Kim Bang Gyeong and his descendants. I commented that almost the entire clan that had gathered was over the age of 50 and was probably 80% male. Yes, I had identified a problem! But the elderly male who guided the tour in conjunction with Seung Ah Kim, the lead story-teller, said that when he was young he hadn't been interested in the family history but now he is, and so he believes that the younger generation will get interested later. He also added that his generation of people doing research have made it easy for subsequent generations. They just have to read the books published. The young generation now doesn't have much knowledge of complicated Chinese characters, the format used to write in older generations, so the published books not only compile the ancient family history, but translate it to modern Korean.

Sachon Village

Located in Sachon, Jeomgok-myeong, Uiseong-gun, Gyeongsannamdo, Sachon is the ancestral village of General Kim Bang Gyeong, and is named after the Sachon village near China, "Sajinchon". The village is surrounded by beautiful nature and the people have inherited the spirit of seonbi (virtuous scholars) of the Joseon Dynasty and led uibyeong (army raised in the cause of justice) against Japan. One of the most famous scholar-officials of the Joseon Dynasty, Ryu Seong-ryong, was born in Sachon in 1542; his mother was an Andong Kim.

Historic Sites in Andong

Manchuidang (Treasure No. 1825) is one of the oldest wooden buildings of a Joseon Dynasty private house. It is used as a living space for the head family and a gathering space for the Andong Kim family members. Manchidang was a pen name of Kim Sa-won, the old student of the prominent Korean Confucian scholar, Han Seok-bong, who composed calligraphy for the royal court. 

Seorim (West Forest) was planted by the Kim clan to fill an empty space to the west of the village. Originally 10 different species of trees were planted, and now it is a dense flourishing forest with 300-600 year-old trees. Seorim is the oldest forest of its kind in Korea. 

Jidang Pond is an artificial pond in the middle of the village. In olden days people believed in geomancy / feng shui, and according to it, with the character of "fire" in written Sachon, it was believed that by building a pond, the "fire" of Sachon would be neutralized.

The Andong Kim family clan village is located in Sachon, Andong, Gyeongsangnamdo.

the white spirit papers with ancestors names propitiously waving in the wind

the main gate to the ancestor's home, Manchuidang

story-teller Seung Ah Kim in her representative Goryeo Dynasty attire

representatives of the Andong Kim clan (note that most are men and over 50)

the main building strung with the ancestor's papers to the right;
the walkway up to the gi-filled tombsites seen between the buildings

climbing to the tomb site(s)

last-minute preparations for the ritual: arranging the spirit food correctly

during the ceremony everyone was to bow (but because it was so crowded, only the representative members in ritual white were obligated to bow; everyone else could from necessity remain standing)

as soon as the ceremony was over everyone descended on the ritually arranged food to eat (Eumbok)

Removing the food from the ancestor's altar.
It's now possible to see the multi-grave arrangements that extend up the hill.
NOTE: the picture in the lower left corner was actually off to the right of the tomb and is the food set out for the Sanshin (the mountain god), a practice that is rarely seen anymore!

A few representative families with the foreigners (15-20) who had accepted the invitation to attend the ceremony.

The tomb arrangement after the place cleared of people and ritual materials.

It's hard to believe that one hour earlier this place was crammed with people, 

ground sheets, photographers, tons of food, and a large speaker system!

a view from this highest tomb ... very propitious gi-filled site!

Other famous places related to the Andong Kim family heritage:

3 of the Most Famous Historical Descendants of Kim Bang Gyeong

Kim Sa-hyeong (1341-1407)

One of the founders of the Joseon Dynasty. In 1336, Korean official Kim Sa-hyeong led a campaign into Tsushima.

Sim Si-min (1554-1592)

Most famous for having defended Jinju Castle with untrained fighters against the Japanese invaders during the Seven Years' War. Since he was one of the greatest generals of Joseon Dynasty, he received the title "Chungmygong", Duke of Loyalty and Warfare like Naval Commander Yi Sun-shin.

Kim Gu (1876-1949)

Better known by his pen name "Baekbom", Kim Gu's autobiography "Baekbeomilji" has inspired many Korean people. He was a Korean nationalist politician, the sixth and later the last Premier of the Provisional Government of the Republic of Korea, a leader of the Korean independence movement against the Japanese Empire, and a reunification activist after 1945.

"My Desire" 

At the end of his autobiography, Kim expressed his desire which he carried throughout his lifetime: 

"If God asked me what was my wish, I would reply unhesitatingly, "Korean independence." If He asked me what my second wish was, I would again answer, "My country's independence." If He asked me what was my third wish, I would reply in an even louder voice, "My wish is the complete independence of my country, Korea". 

"... I want our nation to be the most beautiful in the world. By this I do not mean the most powerful nation. Because I have felt the pain of being invaded by another nation, I do not want my nation to invade others. It is sufficient that our wealth makes our lives abundant; it is sufficient that our strength is able to prevent foreign invasions. The only thing that I desire in infinite quantity is the power of a noble culture. This is because the power of culture both makes us all happy and gives happiness to others."