Gakhwangjeon Hall

Gakhwangjeon Hall
The building in 2006
Religion
Affiliation	Korean Buddhism
Location
Country	South Korea
Geographic coordinates	35°15′26″N 127°29′50″E / 35.2572°N 127.4972°E / 35.2572; 127.4972
Type	National Treasure
Reference no.	67
Korean name
Hangul	각황전
Hanja	覺皇殿
Revised Romanization	Gakhwangjeon
McCune–Reischauer	Kakhwangchŏn

Gakhwangjeon Hall (

The largest edifice of Hwaeomsa from the

Gakhwangjeon Hall was repaired in 1768 by Great Zen Master Jaun Cheogwan. The nature of the work is unknown but the names and duties of the workers have survived in the Hwaeomsa Chronicle. Also participating were monks, soldiers and villagers from the nearby temples of Cheongyesa and Yeongoksa, in Gurye county, as well as Gamnosa, in Namwon, the later one of the major patrons of the work. The building was repaired again in 1847 to replace rotted wood, broken roof tiles and wall paintings. This was followed by more work in 1851, 1860 (when new altar paintings were enshrined), and again in 1885.^[17]

The hall then underwent significant renovation in the

Gakhwangjeon Hall is the largest hall of Hwaeomsa,[22] and overlooks the northwest end of the courtyard. However, although it is the temple's most prominent structure, the adjacent Daeungjeon Hall is the main hall.^[23]

Base

Gakhwangjeon Hall stands on the same granite base once used by Jangnyukjeon Hall, constructed in the post and lintel style (gagusikgidan) that was emblematic of late Unified Silla architecture. At a height of about 1 m (3.3 ft),^[24] its size is more comparable with Joseon palace architecture than contemporary Buddhist halls.^[25] The walls measure 30.9 m (101 ft) along the face and 22.48 m (73.8 ft) on the sides, their surfaces interrupted at regular intervals by post stones. Lintels are laid over top, forming nearly symmetrical eaves with the edges of the square slab stones the base rests on. The rectangular surface is covered in square inlaid blocks with a total area of 694 m² (7,470 sq ft). There are forty round column bases set on square pedestals, each about 1 m (3.3 ft) across and carved from single pieces of granite. After centuries of sinking under the weight of the building, the heights of the column bases have come to vary widely.^[24] Traces of the groves that once held in place the stone plates inscribed with the Flower Garland Sutra are also visible on many of their sides.^[26] Four smaller square column bases are found at the corners of the building for the poles buttressing the eaves of the roof. The staircases at the center of the face and rear, as well as toward the front on the sides, each have six steps and triangular slabs which form the railings. A culvert runs around the rear and sides of the building.^[24]

The base underwent extensive restoration during the colonial-era. Many sections had to be replaced with new masonry, in part due to the fire damage sustained during the Imjin War as well as from centuries of accumulated decay.

The extensive latticework installed between the columns allows light to flood the inner sanctuary and creates a more open environment than other contemporary structures.^[34] On the first floor, the three central bays of the facade have four-panel doors while the remainder have two-paneled doors. These doors open inwards and use the ornate gyeokjagyosal lattice—a combination of a vertical, horizontal and 45° diagonal lattice ribs—in the midsection, with a section of diagonal lattice (bitsalmun) above and a flat panel below.^[35] The use of gyeokjagyosal was exceptionally rare, earlier examples of which from the Joseon dynasty are found only at Geungnakjeon Hall of Muwisa and Daeungjeon Hall of Hongguksa.^[34] Outward opening door panels with comparatively modest belt-lattice (ddisalmun) occupy the first, third and fifth bays of the side walls and all but the outer-most bays of the rear wall, which have fixed wall panels of the same design instead.^[29] The mild degree of weathering seen in the side and rear doors compared to the front suggest that they were repaired or even replaced during the colonial-era.^[35] The spaces between the columns of the second floor have windows of vertical lattice (jeongjamun),^[29] the light passing through which illuminates the faces of the altar statues.^[36]

Inner sanctuary

The interior of the hall is a single open space of a size rarely seen at a Korean temple.

The two-tiered roof is gabled on the first floor and hipped on the second.^[39] Their double eaves appear to curl up at the edges, the exposed rafters spread evenly along the lengths and then fanning out at the corners (seonjayeon).^[40] The eight protruding corners are buttressed by poles that bend heavily under the weight.^[41] The ridge line is 24 m (79 ft) long, and the gables are 4.8 m (16 ft) high and 12.5 m (41 ft) across at their lowest points.^[42]

Underneath the eaves is a canopy of

The name tablet of Gakhwangjeon Hall is affixed between the lintel and the rafters of the central bay on the second floor. Measuring 4 m (13 ft) across and 1.83 m (6.0 ft) tall, the tablet is composed of vertical planks of wood attached side by side and encased in a frame. Although the gold leaf that once adorned the background has faded completely bare, the writing itself still retains its white coloring.^[16]

Verse couplets (juryun) written onto eight tablets hang from each of the first floor columns at the front of the building.^[45] Such verses are usually related to the icons enshrined inside, but in the case of Gakhwangjeon Hall the first stanza of four lines describes the monk Yeongi, the founder of Hwaeomsa, and was borrowed from the writings of National Preceptor Uicheon (1055–1101); meanwhile the second stanza is of unknown origin.

From right side of the building to left they read:

1. 偉論雄經罔不通 Mastering both the Mahayana and the Avatamsaka,
2. 一生弘護有深功 His merits vast from a life of defending the dharma.
3. 三千義學分燈後 Having shared the light of the Buddha's teaching with his 3000 disciples,
4. 圓敎宗風滿海東 The precepts of the Avatamsaka have spread across the land.

5. 西來一燭傳三世 This one eastern light taught to the past, present and future,
6. 南國千年闡五宗 Over a thousand years diffusing from the south into the five schools.
7. 遊償此增淸淨債 For one to surpass such immaculate merits,
8. 白雲回首與誰同 It is as the head of a cloud turns, who could do the same?^[f]

The year of their production is unknown but the signature indicates that the tablets were produced by Kim Yonggu (1907–1982), the same calligrapher who made the verse tablets for Daeungjeon Hall.^[46] The tablets are undecorated, measuring about 3.5 m (11 ft) in length and 0.4 m (1.3 ft) across.^[45]

Colonial-era wind bells hang from each of the eight protruding corners.^[47]

Dancheong

The

The painted surfaces of the interior are in a relatively better state of preservation, revealing the hall to be a striking example of

arabesques of green, blue and salmon. On the slanted portion of the ceiling the panels feature a lotus flower surrounded by flowers and arabesques, or with a Chinese character written in each of its eight petals.^[51] The spaces between the purlins are decorated with cloud patterns (unmun) on an earth-yellow background and outlined in green.^[52]

Wall panels depicting the

arhats line the upper floor, between each of which dragon faces have been painted. Some arhats appear to face outwards with backs bent over like a crescent-shaped moon, or gaze skywards with a gaping mouth and hands folded in behind the back. Others are seen standing upright, wielding a cintamani in one hand, or have their heads lowered and eyes closed, as if in silent meditation. Their colorless figures have been captured with simple but powerful brush strokes, while the trails of their robes almost appear to disappear as they flutter into the wind. The spaces between the bracket clusters each display a seated Buddha. Painted onto a background of red ocher, each figure has a nimbus while the curled hair has been rendered in a heavily exaggerated manner. A gem is visible in the topknot while the oval face displays a crimson urna on the forehead. Both hands are raised chest high with the trails of the robes draped over top.^[52]

Arhats are also painted onto many of the beams and walls of the lower floor, depicted by a stream under a green tree with a trunk colored brightly in red ocher, accompanied by a heavenly boy monk, dragon or tiger. Although drawn mostly in black ink against an earth-yellow background, the light coloring of the arhat's salmon skin, the tiger's white feet, and dragon's crimson tongue serve to accentuate the image. Visible elsewhere are images of

apsaras carrying a janggu around the neck and a drumstick in the right hand, their heavenly robes fluttering in the wind as if descending from the heavens. The seated Buddhas among the brackets appear on lotus pedestals surrounded by nimbuses of the five cardinal colors; the urna is flesh-colored, while some images omit the topknot gem entirely. The hands are mainly seen in the Vajra or Dharmacakra mudrā, while some are positioned in the Bhumisparsha mudrā or with hands held chest-high.^[52]

Written across the central tenons above the front entrance are His Majesty the Sovereign (主上殿下), Her Royal Highness the Queen Consort (王妃殿下), and His Royal Highness the Prince Successor (世子邸下).[53]

Altar statues

Seven statues are enshrined on the altar of Gakhwangjeon Hall. The primary icons are a seated triad depicting the

Ksitigarbha, the Bodhisattva of hell.^[55]

To produce the icons, contributions of money, paddy fields, and grain were provided by eleven monks, seven laymen and one court lady.

Goheung County.^[g] The other primary sculptors were Chungok, Ilgi, Eungwon, Chupyeong, and Chubung, of whom the later three were probably Saengnan's most gifted disciples, having worked under him for about twenty years. Saengnan personally sculpted the statue of Sakyamuni and worked with Chubung to produce Avalokiteśvara, both pieces representing his finest work. Prabhutaratna and Manjusri were sculpted by Chungok, a monk from Songgwangsa who was working with Saengnan for the first time, but about whom little else is known. Amitabha was produced by Ilgi, of Naesosa, Samantabhadra by Eungwon, and Ksitigarbha by Chupyeong.^[57]

Buddhas

The Buddha statues were crafted to appear colossal in size so as to overwhelm worshipers. Sakyamuni, the largest of the three, is 3.5 m (11 ft) high and 2.5 m (8.2 ft) wide at the knees. Seated in the lotus position, the Buddha's upper body has rounded shoulders and a wide chest, while his hands are in the bhumisparsha mudrā.^[58] Characteristically, the size of the head is large compared to the body.^[59] The face appears flat and square in shape but the curvature in the chin and cheeks, as well as the soft smile formed from its thin lips, give the icon a genial countenance. The facial features, especially the prominent nose between the statue's long, half-open eyes are an example of a style that first became prevalent with the Trikaya statues of Sinheungsa in 1651. There is an urna visible between the eyebrows, as well as an ushnisha, denoted by the hair cropped in small spiral curls, and a half-moon shaped jewel (gyeju) protruding just above the forehead. The robes drape over the left shoulder only, wrapping around the front in a U-shape, leaving the statue exposed from the chest to the upper waist. The waistcoat is creased into the shape of five lotus petals, and the ends of the robes trail off over the left knee in the shape of a lotus bud.^[58]

The slightly smaller statues of Prabhutaratna and Amitābha closely resemble Sakyamuni,^[60] in addition to forming near mirror images of each other. Each is depicted with their hands in a variation of the vitarka mudrā, whereby the thumb and the middle finger touch while the remaining fingers are extended. In the case of Prabhutaratna, the left hand is raised while the right rests lightly over the knee, while on Amitābha this is reversed.^[61] Just above the legs there are two folds in the robes of Prabhutaratna compared to three for Amitābha, an example of the greater simplicity typically found in the attendant to the right in sculpture from this period.^[60] The two figures stand 3.2 m (10 ft) high and 2 m (6.6 ft) wide.^[61]

Bodhisattvas

The statues of Manjusri and Samantabhadra are to the direct left and right, respectively, of Sakyamuni. Towards the extremities of the altar, Avalokiteśvara is to the right of Amitābha and Ksitigarbha to the left of Prabhutaratna. The mudras of the figures are symmetrical across the altar: on the right side, the hands of Samantabhadra and Avalokiteśvara are positioned the same as Amitābha; while on the opposite side, those of Ksitigarbha and Manjusri match Prabhutaratna.^[62] Each Bodhisattva stands 3 m (9.8 ft) high and 70 cm (28 in) across at the shoulders.^[63]

Despite the difference in their postures, the overall physical presentation and sculptural technique displayed by the Bodhisattvas are identical to that of the Buddha statues.^[62] The faces, in particular, have the same half-open eyes, protruding nose and thin lips characteristic of late 17th-century Buddhist sculpture. But in contrast to the relative simplicity of the seated Buddhas, the standing Bodhisattva statues are highly ornate, especially in their elaborate crowns and drapery.^[63]

The crown is positioned high atop the topknot from which billowing flames appear to be pouring down each side of the head. The upper section is adorned with five flame ornaments surrounding a small flower at the center, inside which are two birds who sit facing each other. A ten-leaf lotus flower surrounded by flames adorns the lower half of the crown along with several five-petaled flowers, while to each side sits a fenghuang on a finely sculpted cloud. From underneath the crown, a strand of the Bodhisattva's minutely depicted hair can be seen twisting and meandering down each side of the head.^[63]

The drapery of Manjusri and Samantabhadra is largely identical. Their robes display an elaborate array of folds and creases that resemble lotus flowers around the waist and serrated blades of grass near the knees. The outer cloaks are rendered in the style of celestial garments, draped over both shoulders and flowing downward to the feet. Wide belts are wrapped around each figure's waist, the ends of which are tied in knots and flow down between the legs, twisting together at the feet. Unlike Manjusri, though, Samantha's belt is sumptuously decorated with flowers.^[63]

The drapery of Ksitigarbha and Avalokiteśvara is also identical. Their outer cloaks resemble those worn by monks, covering both of Ksitigarbha's shoulders but only the right of Avalokiteśvara. Shaped like a crescent on the right side, the cloaks are folded at the elbows and flow downward toward the feet. A waistcoat is worn over their robes, which are decoratively folded below the waist in what appears to be the shape of a letter U veering slightly to the right. The hems at the bottom are pointed like the trailing end of a bird's wing.^[63]

Altar paintings

Three altar paintings depicting the Buddhas of the Three Periods (samsebulhoedo) were executed in 1860 by the monks Haeun, Punggok, Seoun, Cheoru, Wolheo, Haemyeong and Seoam.^[64] The artists, though, mistook Prabhutaratna for Bhaisajyaguru, the Buddha of healing and medicine, who is depicted in the altar painting to the left. The true identity of the altar statue only became evident when the "chest concealed record" (bokjanggi; 佛像服藏記)^[65] was retrieved from inside one of the statues in 1975.^[66] Although it is unknown how the statue's identity came to be forgotten, Hwang Hogyun suggests that the change to Bhaisajyaguru may simply reflect a development in belief structure that occurred over the 150 years separating the production of the statues and the paintings.^[67]

Each piece is largely identical in style and structure, with a seated Buddha surrounded by over twenty attendants arranged symmetrically in three rows that span the width of the canvas. The figures are painted in gold onto red silk (hongtaenghwa), each of the canvases made from attaching together eleven separate lengths of silk side by side. The delicate brush strokes and the effective use of contrasting color compensate in vividness for the size and uniformity of the paintings. The attendants decrease in size while the brightness of their skin increases from the bottom to the top of the paintings, adding perspective and creating a visual synergy characteristic of Joseon-era Buddhist art.

Cultural Heritage Administration as "having significant historical value for their display of the main characteristics of Joseon Buddhist art."^[69]

On the wall to the left of the altar is a painting of the assembly of guardian deities (sinjungtaenghwa),[38] executed in 1965 by Kim Uil (1901–1998), the best pupil of the Buddhist artist Kim Ilseop (1901–1975).^[70] On the opposite side of the hall are portraits of Zen Master Reesandan Dogwang (1937–1984) and Patriarch Dongheondang Wongyu (1896–1983).^[38]

Sakyamuni

Sakyamuni is enshrined on a lotus throne high atop an altar of Sumeru colored in wood grain and highly detailed. He is seated right leg over left in the lotus position at the center of the painting, his hands in the bhumisparsha mudra and the right shoulder left bare. His crimson robes display elaborate drapery, the folds emphasized with steely, yet buoyant lines. The cross striped hems of the garment are decorated in a pattern of scattered flowers outlined in gold. The spirals in Sakyamuni's conch shaped hair are minutely detailed, and auspicious beams of light ascend towards the heavens from his crimson colored ushnisha. The facial features are perfectly centered on his large face, which, like the bare arms and chest, are painted in a light yellowish-white hue. His large nose protrudes out from between the small eyes and thin eyebrows, while the red lips create an appearance of benevolence. Comparatively small for his size, the oval shaped nimbus surrounding Sakyamuni's body and head is green, outlined in seven different colors and golden flames.

An assembly of twenty-eight deities surrounds the Buddha. At the forefront, making up the first row, are the Four Great Bodhisattvas Avalokiteśvara, Manjusri, Samantabhadra and

The painting of Bhaisajyaguru is substantially the same as Sakyamuni in composition and color tone. The Buddha is enthroned on a lotus throne atop a wood grain colored altar of Sumidan, seated in the lotus position underneath a white lotus canopy. Like the statue of Prabhutaratna before him, Bhaisajyaguru's hands are in the vitarka mudrā, with the thumb and middle finger touching while the remaining fingers are extended, the left hand raised while the right rests on the leg. A medicine box is held in the left hand, the lower half decorated in a fret and the upper half colored green. The facial features match Sakyamuni, but the head and ushinisha have been rendered in lama style, from which auspicious beams of light stream out in three directions. Although the body is well-proportioned overall, the breadth of the knees appear small compared to the torso, in addition to being much smaller than the lower body of Sakyamuni. The Buddha's red robes display a rope curtain pattern of yellowish-white with a band of flowers and serrated half-circles embroidered along the ends. They are draped over the right shoulder, while an overcoat covers the left shoulder and has been lightly thrown over the right shoulder. The body is surrounded by a circular nimbus of cobalt blue and the head in a halo of green, both outlined in the five cardinal colors.

An assembly of twenty-two deities surrounds Bhaisajyaguru. Standing in the first row are the Bodhisattvas

Notes

References

Sources

• Bak Seokjeong; Han Byeongsam; Hong Yunsik; Hwang Suyeong; Jang Chungsik; Jeong Yeongho; Kim Beomha; Lee Jeongja. (1998). 韓國의 佛畵 11: 華嚴寺 本末寺編 (Buddhist Paintings of Korea Vol.11: Hwaeomsa and Its Sub-Temples) (in Korean). Seoul: Buddhist Cultural Properties Research Institute.
  ISBN 89-88241-01-0
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• Cheon, Deukyoum; Jeon, Bonghee (2002). 한국의 건축문화재 (9): 전남편 (Architectural Heritage of Korea 9: Jeonnam) (in Korean). Seoul: Kimoondang.
  ISBN 89-369-0772-7
  .
• Choi, Seongnyeol (2002). "華嚴寺의 扁額과 柱聯 1 (Name Tablets and Verse Couplets of Hwaeomsa 1)". 불교문화연구 (Studies in Buddhist Culture) (in Korean). 9: 103–126.
• Choi, Wansu (1994). 명찰순례 2 (A Pilgrimage to Famous Temples 2) (in Korean). Seoul: Daewonsa.
  ISBN 89-369-0772-7
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• Jeon, Byeongsam; Kim, Bongnyeol; So, Jaegu (2000). 화엄사 (Hwaeomsa) (in Korean). Seoul: Daewonsa.
  ISBN 89-369-0241-5
  .
• Hwang, Hogyun (2002). "華嚴寺의 佛敎繪畵 (The Buddhist Paintings of Hwaeomsa)". 불교문화연구 (Studies in Buddhist Culture) (in Korean). 9: 57–78.
• Lee, Kang-geun (1997). "華嚴寺 佛殿의 再建과 莊嚴에 관한 硏究 (A Study on the Reconstruction and Chang-ŏm of the Main Buddhist Halls, Hwaeŏm Temple)". Buddhist Art (in Korean). 14: 77–151.
• Oh, Jin Hee (2006). "조각승 색난파와 화엄사 각황전 칠존불상 (A Study of the Sacred Seven Buddhas in Gakhwangjeon Hall of Hwaeom Temple)". 강좌미술사 (Lectures in Art History) (in Korean). 26: 113–138.
• Sin, Daehyeon (2009). 화엄사 (Hwaeomsa) (in Korean). Seoul: Korean Buddhism Promotion Foundation.
  ISBN 978-89-85626-17-0
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• 華嚴寺 覺皇殿: 實測調査報告書 (Survey Report on Gakhwangjeon Hall of Hwaeomsa) (PDF) (in Korean). Daejeon: Cultural Heritage Administration. 2009.^{[permanent dead link]}

Further reading

• Baek Changyu (1989). "建物壁畵와 保存;求禮 華嚴寺覺皇殿壁畵 (Building Wall Paintings and their Preservation: The Wall Paintings of Gakhwangjeon Hall, Hwaeomsa, Guyre)". 保存科學硏究 (Conservation Studies) (in Korean). 10: 64–88.
• Cheon, Deukyeom (2002). "華嚴寺의 建築 (The Architecture of Hwaeomsa)". 불교문화연구 (Studies in Buddhist Culture) (in Korean). 9: 79–101.
• Chung, Inkook (1973). "韓國建築樣式論 (On the Style of Korean Architecture)". 弘大論叢 (Collected Treatises of Hongik University) (in Korean). 5: 575–707.
• Gang Bongjin (1968). "求禮華嚴寺覺皇殿 實測報告 (Survey Report on Gakhwangjeon Hall of Hwaeomsa, Gurye)". 建築 (Architecture) (in Korean). 12 (28): 59–65.
• Hwang, Eunkyoung; Zoh, Changhan (1992). "華嚴寺 大雄殿과 覺皇殿의 比較分析을 通한 主佛殿의 意味硏究 (The Study on the Meaning of Main Buddhist Building through the Comparison and Analysis between Daewungjeon and Kakhwangjeon in Hawum Temple)". 대한건축학회 학술발표대회 논문집 (The Collected Papers of the Architectural Institute of Korea Symposium) (in Korean). 12 (2): 9–14.
• Hwang Suyeong; Jang Chungsik; Jeong Byeongjo; Lee Giyeong; Lee Minyong (1976). 화엄사 (Hwaeomsa) (in Korean). Seoul: Iljiksa.
  ISBN 89-312-0093-5
  .
• Kwon, Oh-Hyun; Yoon, Seoung Hyun (1990). "韓國傳統木造建築物의 構造形式에 關한 考察 (II);華嚴寺 覺皇殿을 中心으로 (A Study on the Structure of the Traditional Wooden Building (II) - with Reference to Gaghwangjeon of Hwaeom Temple)". 産業技術硏究 (Journal of the Research Institute of Industrial Technology) (in Korean). 9: 81–89.
• Shin, Yunghoon (1986). 국보 18 (사원건축) (The National Treasures of Korea Volume 18: Architecture of Buddhist Temples) (in Korean). Seoul: Yekyong Publications.
• 求禮 華嚴寺 實測調査 報告書 (Survey Report of Hwaeomsa, Gurye) (in Korean). Seoul: Bureau of Cultural Property, Ministry of Culture and Information. 1986.
• 華嚴寺의 佛敎美術 (Buddhist Art of Hwaeomsa Temple) (in Korean). Seoul:
  ISBN 9788981640811
  .

Wikimedia Commons has media related to Gakhwanjeong of Hwaeomsa.

• Hwaeomsa official site (in Korean)
• Gakhwangjeon Hall, Hwaeomsa Entry at the
  Cultural Heritage Administration of Korea