Immaculate Discipline of
the Monk Militia
Diamond Gate at Songkwangsa Temple in Wanju
Gwon Jung-seo | Culturologist
The history of Songkwangsa Temple in Wanju began with Ven. Doui, a Seon master from Silla, when he built a temple on a site where he found a sacred spring called “Yeongcheonsu” while searching for an auspicious site to establish a temple. It was originally called Baengnyeonsa Temple but fell into ruin some time later. State Preceptor Bojo Jinul then encouraged its reconstruction, saying, “A temple established here will flourish.” However, this was not acted upon for a long time until a large donation was made by a lay Buddhist named Lee Geung-nyong. Once reconstructed as Songkwangsa, a great Dharma gathering was held here presided over by Ven. Byeogam Gakseong, which drew a large number of participants. The temple continued to organize great Dharma projects and soon expanded into a large monastery.
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| Narayana Vajra and Child Manjusri |
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| Hidden Track Vajra and Child Samantabhadra |
In the case of temples established after the Japanese invasion of Korea in 1592, the access path from the One Pillar Gate to the Main Buddha Hall was often not cut in a straight line but was slightly curved. However, the access road of this temple reconstructed by Byeogam Gakseong is very nearly a straight line from the One Pillar Gate to the Main Buddha Hall as if not wanting to distract the minds of the worshippers.
With this straight path connecting the One Pillar Gate, Gate of Non-Duality and Gate of Heavenly Kings, I can just imagine the Buddha shouting “Line up!” after which followers of the Four Heavenly Kings would line up first, followed up by vajra warriors in the middle, and monk militia members last. The orderly placement of these gates gives the temple an air of military discipline, as if militia commander Ven. Byeogam Gakseong wished to inspect his troops. This organization of the temple gates perhaps was intended to arouse in people weary of war the spirit of taking refuge in the Buddha, to arouse a spirit as unwavering as the vajra warriors who protect the Buddha-Dharma and sentient beings.
Songkwangsa’s Gate of Non-Duality is three bays across at the front and two bays deep with a half-hipped roof and single-layered eaves. The foundation has two tiers of natural stones, and three steps are fashioned from rectangular stones at the entrance. Most Gates of Non-Duality are relatively small in size and decorated with a plain wooden bracket system of ornate supporting panels in the shape of bird wings. They also have gabled roofs with visible triangular gable ends on the sides. However, Songkwangsa’s gate has a half-hipped roof with multiple brackets. Thus, in comparison to the gabled roof of the Gate of Heavenly Kings, this gate looks bigger and more magnificent, although it is actually smaller. Seen from inside the gate, the roof has an open ceiling that exposes the wooden lines of the crossbeams and rafters (yeondeung cheonjang). With the central bay as a passageway, the single bays on the left and right, installed with vertical bars, enshrine two vajra warriors of molded clay, in addition to one Child Samantabhadra.
When facing the temple compound, a Narayana Vajra stands on the right. Holding a vajra staff in his right hand and a sword in the left, he appears ready to launch an assault. Though revealing upper front teeth from an open mouth and wearing a band around his head, his face does not appear very fierce. However, an auspicious animal is engraved on the abdomen of his armor to express the dignity of a Narayana Vajra. Next to him is Child Manjusri perching on a blue lion and making the “teaching mudra” with his hands. The blue lion also reveals his canines but does not appear very fierce. To the left (opposite the Narayana Vajra) stands a Hidden Track Vajra in a defensive posture; he holds a dragon in his right hand and a vajra staff in his left. The depiction of a vajra warrior holding a dragon is quite unusual and is not seen at other temples. His hair is pulled up into a topknot, and his mouth is closed with canines exposed. His eyes bulge but are not very fearsome. The dragon engraved on his armor appears to grasp his waist belt in its teeth, radiating the dignity of a Hidden Track Warrior.
Next to him is Child Samantabhadra, perched on a white elephant with six tusks. He has two topknots in his hair and forms the “teaching mudra” with his hands. It was a little disappointing to see the elephant facing the gate and not the Buddha hall. If it faced the Buddha hall it would remind worshippers of the Vows of Samantabhadra Bodhisattva as they headed home after paying respect to the Buddha. In addition, the placement of the two vajra warriors is switched; the correct placement should put the Hidden Track Vajra on the right of the gate and the Narayana Vajra on the left.
A Structure Embodying
Master Byeogam Gakseong’s
Spirit of Protecting the Nation
Gate of Heavenly Kings at Songkwangsa Temple in Wanju
The Four Heavenly Kings at Songkwangsa in Wanju look as if they are there to rush out any minute if the Buddha calls. Because the temple did not install any structure between the Main Buddha Hall and Gate of Heavenly Kings, the temple has no pavilion that usually stands in front of the Main Buddha Hall. The Gate of Heavenly Kings measures three bays across the front and is three bays deep. It has a gabled roof and brackets with ornate supporting panels. At the front and back of the central passageway are double hinged doors with red spikes at the top. When these doors are closed, the gate is designed to be used as an independent shrine dedicated to the Four Heavenly Kings. The name plaque at the front says “Gate of Heavenly Kings” while the plaque in back says “Hall of Heavenly Kings.” This is intended to raise its stature to a Buddha hall. Between the roof rafters and the ends of the upper walls are small gaps so that light coming through them falls on the crowns of the Four Heavenly Kings, acting as backlighting and adding a sense of mystique. In front of the Four Heavenly Kings are long shelves instead of the usual red spikes. These are to hold incense burners and candle holders so visitors can pay respect to the Kings. This reveals the spirit of protecting the nation emphasized by the temple’s founder Master Byeogam Gakseong.
The Four Heavenly Kings wear armor decorated with golden scales and sturdy gauntlets on their wrists. Their crowns are engraved with peacocks at the center, blue dragons and yellow dragons on the right and left, and cloud motifs in between. Plaques depicting raging flames decorate the upper rims of their crowns. The lower bands of the crowns are decorated with flowers and red ribbons that blow in the wind, giving them a luxurious and beautiful appearance.
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| The Four Heavenly Kings at Songkwangsa have enhanced realistic expressions, spectacular crowns, and lively facial expressions. Dragons and lions decorate their waist belts. |
The elbow pieces that extend from the shoulder appear to flap wildly, conveying dynamic power. The demonic faces on the armor’s abdomen appear to grip the waist belt with large, strong teeth, adding to the splendid dignity of the Kings, and their faces glare fiercely as if having the power to immediately subdue evil forces, much like the Kings. The waist belts are gloriously decorated with engravings of dragons and lions.
Standing toward the east is Dhṛtarāṣṭra (“he who preserves the nation”), a master lute player. His mouth is open as if singing; his eyes are tender, and he appears to be enraptured in music. Under his foot is a demon with bulging eyes and hair in a topknot. His bulbous nose and protruding cheek bones make him appear three-dimensional. Unlike the other demons he faces the right front.
To the south stands Virūḍhaka (“he who enlarges”) who holds a golden sword as if to sever the afflictions of all beings who pass through the gate. Perhaps the afflictions of sentient beings are too strong to be cut with one slash? He clenches his teeth and tenses his nose. This makes his face and twitching facial muscles come alive.
To the west is Virūpākṣa (“he who sees all”). He holds in his right hand a golden dragon that coils around his arm several times. With lips firmly closed, he holds the dragon which rises without fear toward his face. Holding a red wish-fulfilling jewel (cintamani) in his left hand, Virupaksa has large eyes, lifted eyebrows, and the corners of his mouth turn downward, causing his dour face to appear animated. A demon wearing a flower-adorned hat (which appears much out of character) is gripped tightly by his instep and toenails.
In the north stands Vaiśravaṇa (“he who hears all”). He stands holding an unfurled flag in his right hand and a stupa in his left. With big, sharp eyes, he opens his mouth wide. With his green eyebrows and beard emanating auspicious energy, and with fearless action, he could easily be shouting, “All that is bad and evil come to me and be edified!” The demon under his foot wears a brimmed hat and appears cross.
Usually, the demons depicted under the feet of the Four Heavenly Kings have tormented faces and appear to be suffering. However, the demons here are interesting in that they appear to have forgotten they are being punished. They appear to slightly raise the kings’ feet and intimidate passersby with glaring eyes.
Gwon Jung-seo is an expert member of the Gyeonggi Cultural Alliance and a Dharma instructor of the Jogye Order.
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