Koreabridge
Low Cost Moving Service
Dear All,
If you wanna transfer your things between Ulsan and Pusan,
Moving things compatibility with SUV (Santa Fe)
Service avaible on Weekend and Holiday only
Price for the service.
0 ~5 KM for 10,000 won
10~20 Km for 20,000 Won
20~30 Km for 30,000 won
40~ Km 1000 won for each KM
Contact 010-3432-8789
Colonial Korea – Beopjusa Temple
Beopjusa Temple is situated in Songnisan National Park to the north-east of Boeun-gun, Chungcheongbuk-do. Beopjusa Temple means, “Dharma Residence Temple” in English. According to the Dongguk-yeoji-seungnam, or the “Survey of the Geography of Korea” in English, Beopjusa Temple was first founded in 553 A.D. by the monk Uisin. After traveling to India to learn more about Buddhism, Uisan returned to the Korean Peninsula with Indian Buddhist scriptures. Carrying these scriptures on a white donkey, he housed these texts at the temple he was to build: Beopjusa Temple.
According to historical documents, the famed monk Jinpyo (8th century) returned to the Mt. Songnisan area and marked a location where it was an auspicious place to grow plants. Afterwards, he traveled on towards Mt. Geumgangsan (now apart of North Korea). There, he founded a temple and stayed at Baryeonsusa Temple. While staying there, he received disciples that had traveled all the way from Mt. Songnisan like the monks Yeongsim, Yungjong, and Bulta. They came to receive the Dharma from Jinpyo. During their meeting with Jinpyo, Jinpyo was to tell his disciples, “I’ve marked the area where auspicious plants grow on Mt. Songnisan. Build a temple there to save the world according to the doctrines of the Dharma and disseminate them among the future generation.” Obeying Jinpyo, the group of monks returned to Mt. Songnisan and found the place that Jinpyo had marked. There, they built a temple which they were to name Gilsangsa Temple. By 1478, and as recorded in the Dongmunseon (Anthology of Eastern Literature), the temple name was recorded as Songnisa Temple. Later, it would regain its former name of Beopjusa Temple.
At its peak, the temple was home to three thousand monks, some sixty buildings and seventy hermitages. At one point during the early 1100’s, over 30,000 monks gathered at Beopjusa Temple to pray for the dying Uicheon-guksa (1055-1101). Like countless other structures in Korea at that time, Beopjusa Temple was utterly destroyed by the invading Japanese during the Imjin War (1592-98). Three decades later, Beopjusa Temple was rebuilt in 1624. And several of the buildings that currently reside at the temple date back to this year like the famed five-story wooden pagoda, the Palsang-jeon Hall.
During the waning years of the Joseon Dynasty (1392-1910), and in 1851, Prime Minister Gwon Don-in state sponsored a national renovation and restoration of Beopjusa Temple. This project was furthered by King Gojong (King of Korea reign 1863-97; Emperor of Korea reign 1897-1907) in 1906. Then, in 1964, president Park Chung Hee (1917-79) financed the construction of a twenty-nine metre tall cement standing statue of Mireuk-bul (The Future Buddha). This was followed-up by the efforts of Master Taejeon Geumho in 1974, with the help of government funding, of an all-out repair and restoration of most of the buildings at Beopjusa Temple. And in the early 1970’s, the temple had been chosen as a setting for the Bruce Lee movie, “Game of Death.” In fact, the Palsang-jeon Hall had been chosen as a filming location because the five floors of the pagoda were meant to represent the five different martial arts. However, before the film could be completed, Bruce Lee tragically died and Beopjusa Temple was edited out of the final movie. In 1988, the massive bronze statue of Mireuk-bul (The Future Buddha) that stands at thirty-three metres in height replaced the twenty year old cement statue of the same Buddha at the temple.
In total, the temple is home to an amazing three National Treasure, thirteen Korean Treasures, one historic site, and one scenic site.
Colonial Era PhotographyIt should be noted that one of the reasons that the Japanese took so many pictures of Korean Buddhist temples during Japanese Colonial Rule (1910-1945) was to provide images for tourist photos and illustrations in guidebooks, postcards, and photo albums for Japanese consumption. They would then juxtapose these images of “old Korea” with “now” images of Korea. The former category identified the old Korea with old customs and traditions through grainy black-and-white photos.
These “old Korea” images were then contrasted with “new” Korea images featuring recently constructed modern colonial structures built by the Japanese. This was especially true for archaeological or temple work that contrasted the dilapidated former structures with the recently renovated or rebuilt Japanese efforts on the old Korean structures contrasting Japan’s efforts with the way that Korea had long neglected their most treasured of structures and/or sites.
This visual methodology was a tried and true method of contrasting the old (bad) with the new (good). All of this was done to show the success of Japan’s “civilizing mission” on the rest of the world and especially on the Korean Peninsula. Furthering this visual propaganda was supplemental material that explained the inseparable nature found between Koreans and the Japanese from the beginning of time.
To further reinforce this point, the archaeological “rediscovery” of Japan’s antiquity in the form of excavated sites of beautifully restored Silla temples and tombs found in Japanese photography was the most tangible evidence for the supposed common ancestry both racially and culturally. As such, the colonial travel industry played a large part in promoting this “nostalgic” image of Korea as a lost and poor country, whose shared cultural and ethnic past was being restored to prominence once more through the superior Japanese and their “enlightened” government. And Beopjusa Temple played a part in the propagation of this propaganda, especially since it played such a prominent role in Korean Buddhist history and culture. Here are a collection of Colonial era pictures of Beopjusa Temple through the years.
Pictures of Colonial Era Beopjusa Temple 1910 The Saejon-budo (stupa) at Beopjusa Temple. (All pictures courtesy of the National Museum of Korea). The Sacheonwangmun Gate. A look up at the eaves of the entry gate. An image of Jeungjang Cheonwang (King of the South) inside the Sacheonwangmun Gate. The historic Palsang-jeon Wooden Pagoda of Beopjusa Temple. At a different angle. And a closer look at the Palsang-jeon Wooden Pagoda of Beopjusa Temple. And a look at the exterior dancheong adorning the Palsang-jeon Hall. The Daeungbo-jeon Hall. The Twin Lion Stone Lantern of Beopjusa Temple. A group of novice monks and monks in front of the Daeungbo-jeon Hall. A look up at the eaves of the Daeungbo-jeon Hall. A look inside the Daeungbo-jeon Hall at the main altar Clay Seated Vairocana Buddha Triad of Beopjusa Temple. A closer look at the central image of Birojana-bul (The Buddha of Cosmic Energy). A look around at the dancheong inside the Daeungbo-jeon Hall. And the ceremonial bronze bell inside the Daeungbo-jeon Hall. Pictures of Colonial Era Beopjusa Temple 1921 The view from outside the temple grounds towards the Sacheonwangmun Gate and the Palsang-jeon Hall. The Sacheonwangmun Gate and a seokdeung (stone lantern). A monk standing next to the Twin Lion Stone Lantern of Beopjusa Temple. Pictures of Colonial Era Beopjusa Temple 1928 Beopjusa Temple from the west. Beopjusa Temple from the southeast. An up-close from the southeast. The historic and beautiful Palsang-jeon Hall. The Daeungbo-jeon Hall. The Stone Lotus Basin of Beopjusa Temple, which also just so happens to be a National Treasure. Pictures of Colonial Era Beopjusa Temple 1929 The dangan-jiju at Beopjusa Temple. The Twin Lion Stone Lantern of Beopjusa Temple. A closer look at the twin lion base. The Stone Lantern of the Four Guardian Kings at Beopjusa Temple. And the base to a damaged seokdeung (stone lantern). Pictures of Colonial Era Beopjusa Temple Specific Dates Unknown (1909-1945) The temple grounds. A budo (stupa) at Beopjusa Temple. A woman standing in a field at Beopjusa Temple. A large water basin and monk at Beopjusa Temple. The Iron Pot of Beopjusa Temple. A man standing between the Stone Lantern of the Four Guardian Kings at Beopjusa Temple and the Stone Lotus Basin of Beopjusa Temple. An up-close of the Stone Lantern of the Four Guardian Kings at Beopjusa Temple. A man standing next to the Twin Lion Stone Lantern of Beopjusa Temple. The historic Palsang-jeon Hall. The massive Daeungbo-jeon Hall.—Dale's Korean Temple Adventures YouTube
This BTS member is secretly the KING of MEMES | BTS Analyzed
It's here - the FINAL EPISODE of my 7-episode series where I analyze each BTS member and share their personalities, their overall Korean speaking, their dialect usage, as well as any unique expressions they use. It was a joy creating these episodes and I hope this isn't the end of this series. Which of these episodes has been your favorite? Let me know here or in the video comments!
The post This BTS member is secretly the KING of MEMES | BTS Analyzed appeared first on Learn Korean with GO! Billy Korean.
—FOLLOW ME HERE: SUBSCRIBE BY EMAIL:
Jeongchwiam Hermitage – 정취암 (Sancheong, Gyeongsangnam-do)
Jeongchwiam Hermitage is located in eastern Sancheong, Gyeongsangnam-do in the foothills of Mt. Daeseongsan. Additionally, the hermitage is located within the northern boundaries of Jirisan National Park. The hermitage was first founded in 686 A.D. by Uisang-daesa (625-702 A.D.). According to a hermitage legend, during the 6th year of King Sinmun of Silla’s reign, which lasted from 681 to 692 A.D., Amita-bul (The Buddha of the Western Paradise) rose from the East Sea and shone two streams of light onto the Korean Peninsula. One of these beams of light shone on Mt. Geumgangsan (present-day North Korea) and the other beam of light shone on Mt. Daeseongsan. According to this legend, Uisang-daesa eventually followed both beams of light. He created Wontongam Hermitage on Mt. Geumgangsan, where the light settled on this mountain; and Uisang-daesa also built Jeongchwiam Hermitage where the light came to rest on Mt. Daeseongam Hermitage.
Jeongchwiam Hermitage was rebuilt during the reign of King Gongmin of Goryeo (r. 1351-1374), but it was eventually destroyed during the reign of King Hyojong of Joseon (r. 1649-1659). The hermitage was reconstructed in 1987. Later, and in 1995, the Eungjin-jeon Hall and the Samseong-gak Hall were built. And the Wontong-jeon Hall was built in 1996.
In total, Jeongchwiam Hermitage is home to two provincial treasures. The first is the “Wooden Gwanseeum-bosal Seated Image in Jeongchwiam Hermitage,” which is Gyeongsangnam-do Cultural Material #314; and the second provincial treasure is the “Sanshin-taenghwa of Jeongchwiam Hermitage,” which is Gyeongsangnam-do Cultural Material #243.
The original “Sanshin-taenghwa of Jeongchwiam Hermitage” from 1833. (Picture courtesy of the CHA). Hermitage LayoutWhen you first approach the hermitage grounds, you’ll first see the administrative office to your left, as well as the Wontong-jeon Hall. Next to the administrative office is the smaller main hall. The Wontong-jeon Hall’s exterior walls are adorned with simplistic Palsang-do (The Eight Scenes from the Buddha’s Life). As you enter the Wontong-jeon Hall, you’ll notice that the main altar has a solitary image dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion) on it. This is the “Wooden Gwanseeum-bosal Seated Image in Jeongchwiam Hermitage,” which rests upon a red silk pillow. The statue of the Bodhisattva wears a beautiful crown, and it’s made of wood. It’s believed that this statue dates back to the late 18th century. The 50 cm tall statue is backed by a beautiful red altar mural dedicated to Amita-bul (The Buddha of the Western Paradise). To the left of the main altar is a shrine dedicated to Jijang-bosal (The Bodhisattva of the Afterlife). This statue is equally small in stature. And on the far right wall is a semi-modern Shinjung Taenghwa (Guardian Mural).
To the right of the Wontong-jeon Hall are the monks’ dorms. Between the administrative office and the Wontong-jeon Hall, on the other hand, is a set of stairs that leads you up towards the upper courtyard at Jeongchwiam Hermitage. The first thing to greet you in this area is an outdoor shrine. There’s a beautiful stone statue dedicated to Gwanseeum-bosal, as well as a collection of Buddhist-inspired statuettes left behind by visitors to the hermitage. To the left of this outdoor shrine is the Eungjin-jeon Hall. Around the exterior walls to this shrine hall are paintings dedicated to the Nahan (The Historical Disciples of the Buddha). Stepping inside the Eungjin-jeon Hall, you’ll find an elegant image dedicated to Seokgamoni-bul (The Historical Buddha) on the main altar. This statue is joined on either side, eight on each side, of sixteen expressive and colourful Nahan statues. And the Nahan statues are then backed by two separate murals of the various disciples.
To the right of the Eungjin-jeon Hall and the outdoor shrine dedicated to Gwanseeum-bosal, you’ll find another set of side-winding stairs. Through an opening in the mountain, and next to a pair of beautiful red pines, is the Sanshin-gak Hall/Samseong-gak Hall. It’s a bit of a strange name for a shaman shrine hall, but it’s the two signboards that rest above the two entrances to the single shrine hall that gives it its name. If you enter the shaman shrine hall’s left door, you’ll be greeted by images dedicated to Chilseong (The Seven Stars) and Dokseong (The Lonely Saint). And if you decide to enter through the right door under the signboard that reads “Sanshin-gak Hall,” you’ll be welcomed by a slightly askew window that looks out onto a shrine dedicated to Sanshin (The Mountain Spirit). You can also approach this outdoor shrine dedicated to the Mountain Spirit to the rear of the shaman shrine hall. On top of the mountain rests a striking image dedicated to Sanshin. This is a reproduction of the “Sanshin-taenghwa of Jeongchwiam Hermitage” (the original appears to be housed inside the administrative office at the hermitage for protection). The original painting, which measures 150 cm by 150 cm, dates back to 1833. It depicts Sanshin (The Mountain Spirit) riding a tiger instead of more customarily sitting next to the feline. Two dongja (attendants) appear in the painting floating in clouds. One is playing an instrument, which is reminiscent of a Bicheon (Flying Heavenly Deity), while the other carries a bowl of peaches (a symbol of immortality).
It’s also worthy to note that you get some amazing views of the valley below from the heights of the Sanshin-gak Hall/Samseong-gak Hall. The view is definitely worth a few moments of your time.
How To Get ThereThe only way to get to the reclusive hermitage is by taxi. So from the Sancheong Intercity Bus Terminal, you’ll need to catch one. The taxi ride takes 20 minutes over 17 km. And it’ll cost you 20,000 won (one way). Just make sure that you hang onto your taxi because it’s a long way back to Sancheong.
Overall Rating: 7/10There are a few highlights to this little known hermitage. They are the main altar statue dedicated to Gwanseeum-bosal, the beautiful views and surroundings; and of course, the historic altar mural dedicated to Sanshin (The Mountain Spirit). The replica of the shaman deity is beautiful, but perhaps you’ll be lucky enough to see the original, if you ask. The hermitage is especially beautiful on a foggy day.
The Wontong-jeon Hall as you first approach the hermitage grounds. The cute hermitage dog. One of the Palsang-do (Eight Scenes from the Buddha’s Life) that adorns the exterior walls of the main hall. The “Wooden Gwanseeum-bosal Seated Image in Jeongchwiam Hermitage.” The Shinjung Taenghwa (Guardian Mural) inside the Wontong-jeon Hall. The outdoor shrine dedicated to Gwanseeum-bosal in the upper courtyard. A look down on the Eungjin-jeon Hall. The main altar inside the Eungjin-jeon Hall. The stairs that lead up to the Sanshin-gak Hall/Samseong-gak Hall. The two entryway doors to the shaman shrine hall. The mural dedicated to Chilseong (The Seven Stars) inside the shaman shrine hall. And the window that looks out onto the replica of the “Sanshin-taenghwa of Jeongchwiam Hermitage.” A better look at the outdoor shrine dedicated to Sanshin (The Mountain Spirit). And a closer look at the replica of the 1833 mural. A look down at the valley below from the heights of the hermitage.—Dale's Korean Temple Adventures YouTube
F4 Visa Looking for work
Hi everyone,
I am looking for work in Korea.
A Canadian citizen with Korean background, I am fluent in both English and Korean.
Previously worked in a consulting firm, helping both Korean and English speaking clients.
Feel free to ask me questions about me.
Thank you,
Korean classes in May!
Busan's Korean Language Institute For Foreigners (KLIFF) is offering classes for everyone. Make a change by learning Korean this season. The teachers at KLIFF can help!
Think it takes a year to speak Korean well? Think again! In just a month we can get you speaking with the locals!
KLIFF is located in two convenient locations: PNU and Haeundae.
We have as many as 9 levels of Korean ability for you to choose from. We also offer special lectures targeted toward the Korean proficiency test.
We're open from 9 a.m. to 10 p.m. Monday through Saturday, and available Sunday, too!
Questions or need directions? Feel free to call us any time at 010-9108-6594, or email to [email protected]. You can also check us out at www.kliff.co.kr.
See the map below to our PNU location, call or see our website for Haeundae classes.
Busan's Korean Language Institute For Foreigners (KLIFF) is offering classes for everyone. Make a change by learning Korean this season. The teachers at KLIFF can help!
Think it takes a year to speak Korean well? Think again! In just a month we can get you speaking with the locals!
KLIFF is located in two convenient locations: PNU and Haeundae.
We have as many as 9 levels of Korean ability for you to choose from. We also offer special lectures targeted toward the Korean proficiency test.
We're open from 9 a.m. to 10 p.m. Monday through Saturday, and available Sunday, too!
Questions or need directions? Feel free to call us any time at 010-9108-6594, or email to [email protected]. You can also check us out at www.kliff.co.kr.
See the map below to our PNU location, call or see our website for Haeundae classes.
Korean classes in May!
Busan's Korean Language Institute For Foreigners (KLIFF) is offering classes for everyone. Make a change by learning Korean this season. The teachers at KLIFF can help!
Think it takes a year to speak Korean well? Think again! In just a month we can get you speaking with the locals!
KLIFF is located in two convenient locations: PNU and Haeundae.
We have as many as 9 levels of Korean ability for you to choose from. We also offer special lectures targeted toward the Korean proficiency test.
We're open from 9 a.m. to 10 p.m. Monday through Saturday, and available Sunday, too!
Questions or need directions? Feel free to call us any time at 010-9108-6594, or email to [email protected]. You can also check us out at www.kliff.co.kr.
See the map below to our PNU location, call or see our website for Haeundae classes.
How Bad Is Bullying In Korea? (feat. The Glory) | Street Interview
If you're a fan of Korean dramas, chances are you've heard of the popular Netflix show "The Glory". In short, it tells the story of a woman seeking revenge on her high school bullies. But, how accurately does it depict the reality of bullying in Korea? Does it really get as violent in real life or does the show exaggerate the issue? We hit the streets of Seoul to hear directly from average Korean citizens about their experiences.
The opinions expressed in this video are those of individual interviewees alone and do not reflect the views of ASIAN BOSS or the general South Korean population.
0:00 - Intro
0:27 - Why is ‘The Glory’ so popular?
1:58 - Are the bullying scenes in ‘The Glory’ exaggerating real life in Korea?
4:09 - How common are bullying cases in Korea?
7:04 - Is psychological or physical bullying more common?
9:50 - Have you witnessed or experienced bullying yourself?
19:44 - Who do you think should be held responsible for school bullying?
21:55 - How can Korea’s school bullying issue be solved?
Follow us on social media:
Instagram ► https://www.instagram.com/asianbossme...
Facebook ► https://www.facebook.com/asianboss
Twitter ► https://twitter.com/asianbossmedia?la...
TikTok ► https://www.tiktok.com/@asianbossmedi...
—- Mogao (Our Community App)
- Official Website
- TikTok
- Instagram
- Facebook
Colonial Korea – Archaeology in Korea
Before Japan even occupied the Korean Peninsula, they took preliminary steps towards the colonization of Korea. One of these steps by Japanese scholars was to survey the customs, products, and cultural assets of Korea. Even at this time, it’s completely plausible that the Japanese already had the goal in mind of expropriating Korean cultural assets back to Japan. But before doing this, they needed to map the Korean Peninsula to fully appreciate what awaited them in their conquest. With all of this in mind, the Japanese thoroughly investigated, charted, and mapped Korea’s historical assets and sites. And because of Japan’s shared religious and cultural heritage found in the form of Buddhism, the Japanese did an exhaustive search of the future colony.
There were numerous reasons as to why the Japanese would do this. One of these reasons for all of this archaeological work was to portray the Korean colony as inferior to Japan. Another reason was to justify the annexation of Korea through tourism and conservation that had previously been overlooked by the Joseon Dynasty (1392-1910). And finally, the other link that the Japanese attempted to form through these archaeological endeavors was to form a bond that united the two people through a form of pan-Asian Buddhism to help combat Western and Christian influences. And through decades of work, Japanese scholars, governmental agencies, and archaeologists attempted to make this a reality.
The Examination of Korean Historical Relics and SitesAfter the annexation of Korea in 1910, the Japanese set about systemically organizing and investigating various cultural assets and sites throughout the Korean Peninsula. The Japanese had used this same investigative approach on their own ancient temples and temple sites between 1888 and 1897. By continuing the same methodology, but this time on Korean temples and temple sites, Japan was attempting to demonstrate the continuity found between Korean and Japanese cultures and their pasts. And that this connection stretched all the way back to “time immemorial.”
It was through Japan’s own surveying experiences of their own national cultural assets that gave its leaders confidence in investigating the cultural assets of the future colony of Korea. And while the motivation behind the surveying of the two nations were different, the Japanese applied their own classification methods to examine the cultural assets of Korea. What’s interesting about this methodology is that Japan assigned a previously unused approach to the functions and roles of the cultural assets. Instead of being oriented through the prism of religious importance and significance, these Korean cultural assets were now considered as “art” and “relics” from Korea’s past.
One of the central figures to this exploitive exploration of Korean historical relics and sites was Yagi Sozaburo (1866-1942) of the Tokyo Imperial University. Yagi Sozaburo was sent to Korea from the Department of Anthropological Studies at Tokyo Imperial University. This department had been first established during the Meiji era (1868-1912). Specifically, Sozaburo’s fieldwork was based in Gyeonggi-do Province between 1893 and 1910, where he surveyed the dolmens from ancient Korea and the tombs that dated back to the Three Kingdom through to Unified Silla (so approximately 300 to 935 A.D.).
Torii Ryuzo (1870-1953). (Picture courtesy of Wikipedia). Kuroita Katsumi (1874-1946). (Picture courtesy of Wikidata).Following Sozaburo was Sekino Tadashi (1867-1935), Torii Ryuzo (1870-1953), and Kuroita Katsumi (1874-1946). All three continued the surveys under the direction of the Japanese Government General of Chosen (Korea) and different Japanese prefectural offices. It’s important to note all of these surveys because they were the very first surveys of Korea’s cultural assets and historical relics.
Sekino, Torii, and Kuroita Katsumi specifically surveyed and ranked various structures and historical sites. They also classified ancient Korean tombs under the jurisdiction of the Japanese provincial government offices of the Government General of Korea. In turn, the Government General issued the “Korean Temple Ordinance.” This would help manage the merging of temples, the transferring of a temple’s cultural assets, as well the various assets of temples like land.
In 1916, the Government General published the “Regulations on the Preservation of Ancient Tombs and Relics.” This was the first guideline that would help instruct people on the preservation of historical relics. This total framework allowed the Japanese to manage and supervise temples and their assets. It also allowed for the surveying and preservation of historic sites. And the Japanese would also manage museums on the Korean Peninsula. According to the Japanese historian Fujita Ryosaku (1892-1960), Japan regarded these archaeological undertakings as its proudest legacy in Korea.
The Tomb of the Golden Crown. (Picture courtesy of Wikipedia).By 1921, and through the discovery and excavation of the Tomb of the Golden Crown, or “Geumgwanchong” in Korean, in Gyeongju, the control over the preservation of ancient temples and historic buildings was transferred to the Department of Archaeological Research of the National Archives Bureau, which was under the Japanese Government General.
With these organizational efforts, the Japanese colonial government was able to more thoroughly, as well as professionally, research historic sites in colonial Korea. It was viewed by the Japanese that the restoration, repair, and preservation of the Korean Buddhist temples, after they had been fully investigated, formed part of the social enlightening of the Korean masses by the Japanese imperialists and their ideology. This was all done under the guise of “cultural politics.” By being able to weaponize Korea’s past, they could use it as an instrument to control and influence modern Koreans and their culture.
The History of Korean Buddhist ArtifactsBefore Japan had colonized Korea and converted Korea’s Buddhist artifacts into pieces of “art,” Korean Buddhism endured a lot throughout the Joseon Dynasty. Historically, Korea endured two devastating wars during the Joseon Dynasty (1392-1910). The first of these two wars was the extremely destructive Imjin War (1592-1598). The second of these two wars was the Qing Invasion of Joseon (1636-1637). Because of these two wars, Buddhist rituals for the dead were actively conducted in Korea despite the Joseon governmental persecution of Buddhism. Both native governmental policies and foreign led wars on the Korean Peninsula destroyed Buddhist temples and their properties like statues and paintings throughout the peninsula. But without temples, Koreans, who didn’t rely on Confucianism for memorial service; but instead, relied heavily on Buddhism with the afterlife, couldn’t hold proper memorial services for the dead through such services as the Water-Land Ceremony, which is known as “Suryuk-jae” in Korean.
With all of this in mind, and with the ending of hostilities, temples were rebuilt and new statues and paintings were enshrined in the newly built temple shrine halls. In fact, during the first half of the 17th century, recent research has revealed that over 200 statues were produced at this time using various materials and sculpting techniques. These temple rebuilds and production of temple statues and paintings lasted up until the 18th century. After this productive period, most renovation efforts were curtailed and focused more on repair like the re-colouring of Buddha and Bodhisattva statues. Yet despite the downturn of renovations, the demand for memorial services continued to increase at temples.
In a twisted sort of way, and because of the marginalization of Buddhism during the Joseon Dynasty, Buddhism started to regain their popularity in society as the main religion of the people because of the suffering inflicted by the two late 16th and mid-17th century wars. Because Buddhism was capable of healing the trauma caused by the wars through ceremonies, and because of the defence of the nation by the Righteous Army, the dominance of the pro-Confucian government started to gradually weaken. And in its place, Buddhism started to reassert itself from the margins of Joseon society.
It was to this that Koreans started to imbue these Buddhist objects of worship and the ceremonies that surrounded them with hope. As a result, these objects of worship took on an elevated meaning of good fortune for the future. And it was these religious artifacts that the Japanese would predominantly encounter with their annexation efforts that centred around Buddhism and the religious past that they held in common with Korea.
Korean Religious Artifacts Become Japanese “Art”Following the Japanese annexation of Korea, Korean Buddhist art was quickly incorporated into the category of “Korean art history” through the surveys conducted on temples, pagodas, and artifacts throughout Korea. The reason for this change is that Japan was following the model set forth by Western nations and their colonizing efforts. As such, and as part of this effort, art history was a field of Western scholarship that the Japanese learned and employed during their occupation of Korea. One way that the Japanese did this was by surveying the material cultural heritage of Korea and then organizing these items into a chronological order.
Sekino Tadashi and his research assistant examining the “The Seven-Story Pagoda at the Hyeonhwasa-ji Temple Site.” (Picture courtesy of the National Museum of Korea).After these organizing efforts, Japanese scholars gave lectures on Korean art history not only to the Japanese but to Korean, as well, to help separate the religious from the items. In turn, the religious meanings were extricated from these Buddhist items so as to stand alone as a piece of “art.” The term “Korean art history” was first coined in a report entitled “Research on Korean Art” by Sekino Tadashi in 1910. This newly used term “art” for these items first emerged in German-to-Japanese translations in Japan in 1872 to describe Japan’s cultural assets. This concept of “art” was then applied retroactively to all forms of material cultural assets in Japan. This term used on Japanese material cultural assets were then transferred onto Korea’s material cultural assets by the Japanese. And the term “art” was applied to any item that was deemed suitable enough to be considered as “art.” There was simply no definitive definition for what qualified as “art.” As such, Buddhist cultural assets, whether they were Japanese or Korea, were included in this new category and the separation that was to form between the religious and the aesthetic were made.
Starting in 1902, Sekino Tadashi, who was a professor in the Department of Building Houses at Tokyo Imperial University, first surveyed the cultural assets of Korea. He examined both ancient buildings and the relics of the Joseon Dynasty. Afterward, Sekino published his findings in the “Brief Report on the Investigation of Korean Architecture” in 1904. In this report, each of Korea’s provinces was surveyed. And while these provinces were examined regionally, the Korean cultural assets were organized in historical order. This system followed a system already established by Japanese art history; and more specifically, by Okakura Tenshin (1863-1913) and Ernest Fenollosa (1853-1908). This type of system helped outline the rise and fall of a dynasty and based a dynasty’s artifacts according to this time period.
Professor Sekino Tadashi of Tokyo University surveying Goguryeo tombs in Jian. (Picture courtesy of the Chōsen Sōtokufu, 1915).After Sekino published his report, he then gave a lecture on the topic entitled, “On the Transitions of Korean Art,” which was given in 1909 at the Gwangtonggwan Building in Seoul. This lecture was published under the title, “Red Autumnal Leaves of Korea.” And it was the first official publication on the subject of Korean art history. This work included several cultural assets of Korea including those from Unified Silla like the three small bronze Buddha statues, the Stone Brick Pagoda of Bunhwangsa Temple in Gyeongju, Dabotap Pagoda of Bulguksa Temple, the stone lantern of Bulguksa Temple, and the Gilt-Bronze Standing Bhaisajyaguru Buddha of Baengnyulsa Temple. Also included in this work were assets from the Goryeo Dynasty (918-1392), as well, like the thirteen-story pagoda of Bohyeonsa Temple on Mt. Myohyangsan, the incense burner from Cheondeungsa Temple, and the portable shrine from Yeongmyeongsa Temple. There were only a few items of Buddhist art from the Joseon Dynasty in this book. One of these assets was the thirteen-story marble pagoda in Gyeongseong, the Buddha statue inside the main hall at Bohyeonsa Temple on Mt. Myohyangsan, and the Buddha statue from inside the Eungjin-jeon Hall at Seongbulsa Temple on Mt. Cheongbangsan.
The Korean “art” that Sekino mentioned in this book consisted mainly of various forms of Buddhist art from bells to pagodas, to statues and incense burners. Although the book is primarily a list of names of objects, the text does describe how Buddhist cultural assets were newly included as pieces of “art,” shedding their religious meaning. Until this time, no one had yet to regard these Buddhist cultural assets as objects of aesthetic appreciation as “art.” While Koreans during the Joseon Dynasty definitely appreciated the aesthetic like in landscapes and poetry, oftentimes from Buddhist temples, they didn’t define or even attempt to define them as anything outside their functionality as a Buddhist object. As such, Sekino’s lectures and books were the first attempts at creating space between the origin of their Buddhist functionality towards a more aesthetic item. Buddhist temples used these items for rituals and ceremonies. Sekino and the Japanese wanted to appreciate these items in a whole new light. It was from this moment in time that people came to appreciate these Buddhist cultural assets as objects of “art.” A new context and narrative had been formed. The Buddhist objects now existed on two plains: one of worship and one of aesthetics. And for the Japanese, they were moving away from the religious so as to possess them in their own terms. These new terms and the redefining of these objects as “art” gave these objects a different value. As such, these objects of faith and worship now had a previously unintended meaning from their original construction. This re-centering was brought forth by a new political climate. Due to Sekino’s writings and lecturing, Korean Buddhist material now acquired the stature of being “art,” and these items no longer held the Buddhist foundation that they formerly had when they were first created. The religious was separated from the religious object to create an object of “art.”
With this as orienting point of departure, the history of Korean “art” gradually expanded through the further surveying and excavation of temples and Buddhist sites throughout Korea from Sekino’s efforts. In 1923, more than ten years after the publication of “Red Autumnal Leaves of Korea,” Sekino launched a series of lectures on the topic of Korean art history at the request of the “Korean Historical Society.” Ten years after this, Sekino would publish “Korean Art History.” The series “Illustrations of Korean Antiquities” was published between 1915 and 1935, and it played a central role in Sekino’s writing “Korean Art History.” “The Illustrations of Korean Antiquities” introduced the material cultural assets and artifacts from Korea’s prehistoric period up to the Joseon Dynasty, arranging all of these artifacts in chronological order.
The Restoration of Buddhist Art by Japanese ScholarsAfter investigating Buddhist temples and their art, which were classified as “cultural facilities” by the Japanese, the Japanese scholars then attempted to restore and preserve these assets. The restoration of these cultural assets by the Japanese during Japanese Colonial Rule (1910-1945) was motivated by political calculations. This was different than previous restoration efforts on these Buddhist assets. While Koreans had previously restored these temples and their art for religious reasons like accruing good karma, the restoration work conducted by Japanese authorities was far more practical. Instead of being religiously oriented, the efforts to restore these items was done to justify Japanese colonialism. The religion of the Korean people was secondary to the Japanese authorities’ efforts and how they defined these efforts.
To put things in context, starting in 1876 following the Meiji era, Japan carried out a large-scale survey of their own ancient temples. This was done to push for a separation between Shintoism and Buddhism; which, until that time, had been fused together as one religious entity throughout the course of Japanese history. Unconcerned with the separation of these previously inseparable religions, the Meiji government went ahead with it anyways. As a result, the Meiji government classified the related religious assets as forms of Japanese art in the name of modernizing the religions. No longer were these religious items categorized under their original religious meanings. Instead, they were now Japanese cultural assets and not Buddhist or Shinto. It was with this same rubric that Korea’s Buddhist cultural assets fell under, as well, eventually.
The surveying and changes in restoration goals in Korea would lead to the restoration of Korean Buddhist cultural assets. Initially, the Japanese government hadn’t planned to restore Korean artifacts when they were surveyed. However, at the time of Sekino’s initial surveys starting in 1909 such items as the Stone Pagoda at Mireuksa Temple Site in Iksan, Jeollabuk-do; the Haetalmun Gate of Dogapsa Temple in Yeongam, Jeollanam-do; and the Five-Story Stone Pagoda at Seonggeosa Temple Site in Gwangju had already been classified as “artifacts requiring urgent repair work.” So it was with this initial momentum that the Japanese would continue their efforts through the proceeding years.
The Reason for Japanese Archaeological EffortsMost of Japan’s restoration work took place in the 1920s before the entire world would erupt in war. The Japanese imperial government put forth a significant effort through the concentration of resources to repair and restore Korea’s more prominent Buddhist cultural assets like Seokguram Hermitage in Gyeongju. The cost of the first round of repairs on Seokguram Hermitage that were performed on the site up until 1915 totaled some 22,726 won (or about 450 million won/400,000 USD in 1998; which as of 2023 is some $727,000 USD).
Specifically, the reason why the Japanese invested so much in the repair of Seokguram Hermitage in 1913 was for propaganda purposes. This work was conducted by the Department of Civil Engineering within the Ministry of Internal Affairs. This was not only so that the Japanese could distort and misrepresent history for colonial purposes, but the Japanese also did this to help justify the annexation of Korea in 1910. By repairing Seokguram Hermitage and its famed grotto, Japan could point to something tangible that could highlight the successful efforts of colonial rule on the Korean Peninsula. More plainly stated, Japan could point to Seokguram Hermitage and indicate that their efforts were not only helping to secure Korea’s tangible past but that Japan was also helping Korea modernize, as well.
The Seokguram Grotto in Gyeongju in 1922. (Picture courtesy of the National Museum of Korea). The Seokguram Grotto in Gyeongju in 1935 with Imperial family members and entourage. (Picture courtesy of the National Museum of Korea).These repairs and restorative work were then carried out on artifacts across various regions in Korea. However, among these efforts, most of this work was concentrated on Silla Buddhist artifacts and sites in the Gyeongju area. Another reason that the Japanese focused their attention on these Buddhist monuments and artifacts from Gyeongju is that they believed that these works were similar to those found in Kyoto. This similarity, in the eyes of the Japanese, would help to develop and drive tourism in Korea; and more specifically, in Gyeongju.
The reason for this is that these restorative acts on Buddhist artifacts and sites were in line with the Japanese thought that “Buddhism was the core of the Eastern Spirit,” which was an idea pursued by the Japanese since the Meiji era (Jan 25, 1868 – Jul 30, 1912). Additionally, it was the cultural assets of Korea that the Japanese placed the greatest value upon, which were created before the Joseon Dynasty. The reason for this is that the Japanese were attempting to evoke in the minds of Koreans the memory of cultural achievements founded during the “Buddhist era” that predated the Joseon Dynasty. Japan needed to point to a pre-modern era that predated the “ruin” of Korea. This “ruin” had been brought on by the rulers of Joseon. The glory of Korea lay in its distant past that had flourished when Buddhism was at the very heart of its society and its successes. So it made sense to attack Joseon rule, while elevating what came before it. It fed into the narrative that Japan had to promote Buddhism which linked the two people together.
During the 1920s and 1930s, the Governor General of Korea took great pride in Japan’s achievements in colonial Korea. As such, they presented copies of the “Illustrations of Korean antiquities” to visiting foreigners. Inside this text, it was common to present two side-by-side photos of the “old” (bad) Korea with the “new” (good) Korea under Japanese Colonial rule. This was an old tried and true method conducted by several colonial powers on the colonized to help justify colonization.
What should be noted at this point is that it’s impossible to determine whether the new form of these Buddhist cultural assets retained the original configuration and composition of these works after Japanese scholars, archaeologists, and technicians had completed their work. There are simply no resources that one can look at to confirm or consult the original appearance or layout of these cultural assets. As such, there is no way to know if the Japanese were in fact restoring these assets of material culture to their original form or simply a Japanese interpretation of what they should have looked like.
It should also be noted at this point, as well, that prior to Japanese occupation, the Joseon government had yet to conduct a national survey of the cultural assets of the nation. Instead, it was during the Japanese occupation of Korea that acted as a catalyst for the acceleration of the surveying, restoration, and maintenance of these Korean Buddhist cultural assets. Part of this is due to the anti-Buddhist policies of the Joseon Dynasty and the other is cost. In a strange way, the Buddhist cultural assets that have come to embody Korea’s cultural heritage today are based upon the data collected during these surveys and restorative efforts by the Japanese.
Dabo-tap Pagoda at Bulguksa Temple before repairs during Japanese Colonial Rule (1910-1945). (Picture courtesy of the National Museum of Korea). Dabo-tap Pagoda at Bulguksa Temple from July, 2022. ConclusionThe “re-discovery” of the significance and importance of these Korean Buddhist cultural assets was promulgated by the Japanese themselves through lectures and publications. And one of the reasons that the Japanese made such claims was to put Buddhist cultural assets at the very centre of Korea’s cultural heritage. By doing this, they hoped to link the idea that Buddhism was at the very core of the Asian spirit. This was done for a number of reasons by the Japanese, but the primary reason, arguably, was to combat the growing influence of Western thought and Christianity. Japan hoped that by elevating not just Korean Buddhism, but all Asian nations that fell under its sphere of influence, that Japan could create a pan-Buddhism that could and would resist outside influences in the form of Western thought and Christianity. It also didn’t hurt that it would help justify and subsidize the war efforts in other parts of Asian. This was done in numerous way; but arguably the most effected was tourism and both the revenue it produced and the cultural bond it formed through Buddhism.
One of the core arguments that the Japanese emphasized at this time was that Korean Buddhist art was excellent. And the reason for the Joseon Dynasty’s collapse was the rejection of Buddhism. As a result, the Joseon Dynasty was in decline. Though Baekje, Goguryeo, Silla, and Goryeo had produced fine pieces of Buddhist art that were cultural assets, they had been reduced to rubble over the past 500 years of Joseon Dynasty rule. And so the argument goes, it took the Japanese, through their colonial powers, to help resurrect these cultural assets that had long since been neglected. And through these repairs and renovations, the Japanese colonial government in Korea had resuscitated the Buddhist cultural assets and elevated them to piece of “art” in contemporary Korea that could be enjoyed in the present. With this change, Korean Buddhist assets were assigned a new role. And with this new role, a greater number of people, whether they were Korean or Japanese, could appreciate these “re-discovered” pieces of “art.”
—Dale's Korean Temple Adventures YouTube
They tore out the street in front of the palace!
Gwanghwamun Plaza (광화문광장) was recently renovated and they added a gigantic underground museum! I got to explore the new plaza and underground museum, all while wearing Hanbok (한복) together with 안나데이즈. Check out our guided tour!
The post They tore out the street in front of the palace! appeared first on Learn Korean with GO! Billy Korean.
—FOLLOW ME HERE: SUBSCRIBE BY EMAIL:
Time Words 동안, 아까/방금, 이따/나중, 얼마/얼마나... | Live Class Abridged
I'll be going to Korea in a couple of weeks! Last Sunday was the final Korean classroom for the summer, until sometime in August after I return from Korea.
During this class I taught about several basic time words - words that are used when talking about the time. Some of these include 동안, 아까 and 방금, 지금 and 이제, 나중에 and 이따(가), and many more. Here's the summarized version of the class.
The post Time Words 동안, 아까/방금, 이따/나중, 얼마/얼마나... | Live Class Abridged appeared first on Learn Korean with GO! Billy Korean.
—FOLLOW ME HERE: SUBSCRIBE BY EMAIL:
Haeundae/housing/studio/beach view/50meters away from the beach
If you need a studio near the Haeundae beach, you are the right person.
We have system air-conditioner, TV, refrigerator, Hot-water and electricity , No maintenance fee, Terrace and queen-sized bed. It is a new building.
We are 40 or 50 meters away from the Haeundae beach. You can get to the beach easily and jog.
Also you can see the beach in the studio.
There are many things for your convenience, for example, launderette, MacDonald, convenience store, and good restaurants.
Deposit:2mil
Date:Anytime
Rental fee: 600,000won per month. including maintenance fee,electricity,water,Tv,internet
Not allowed - pets and smoking.
If you are interested in this housing, feel free to contact me.
[email protected] or mb. 010-5067-1910 (James)
기대하다 vs 기대되다 What Do You Expect? | Korean FAQ
Two commonly misused words I hear are 기대하다 and 기대되다, and I've often been asked to explain their differences.
I compiled all of the differences between 기대되다 and 기대하다 in today's newest Korean FAQ episode. Most of these videos come from suggestions from channel members, Patreon supporters, and viewers.
The post 기대하다 vs 기대되다 What Do You Expect? | Korean FAQ appeared first on Learn Korean with GO! Billy Korean.
Russian Language teacher with Korean citizenship looking for a part-time job
Hello, I am a highly deidicated and experienced Russian native teacher who has been teaching children and adults at universities, high-schools and academies for over 15 years. I am currently living in Busan, I have the Korean citizenship and I am looking for a 2-3 days per week Russian language teaching job. Do not hesitate to contact me if you are interested and I will send you a resume. I look forward to hearing from you. Kind Regards.
Yongmunsa Temple – 용문사 (Namhae, Gyeongsangnam-do)
Yongmunsa Temple, which is located in Namhae, Gyeongsangnam-do, means “Dragon Gate Temple” in English. Yongmunsa Temple was first constructed in a round about way by the famed monk Wonhyo-daesa (617-686 A.D.) in 663 A.D. Originally, when Wonhyo-daesa built the temple, it was called Bogwangsa Temple on Mt. Geumsan. The temple was later moved to its current location on Mt. Hogusan. It was at this time that the temple changed its name to Yongmunsa Temple. Yongmunsa Temple would eventually be completely destroyed during the Imjin War (1592-1598).
Yongmunsa Temple would be rebuilt in 1666, when the Daeung-jeon Hall was built by the monk Baekwol. During the reign of King Sukjong of Joseon (r. 1674-1720), Yongmunsa Temple was designated a royal temple. More recently, and in 1900, the temple was restored even further to its current configuration and appearance.
In total, Yongmunsa Temple is home to two Korean Treasures. They are the Daeung-jeon Hall, which is Korean Treasure #1849; and the Hanging Painting of Yongmunsa Temple, which is Korean Treasure #1446. In addition to these two Korean Treasures, there are numerous other provincial treasures at Yongmunsa Temple, as well.
Temple LayoutYou first approach Yongmunsa Temple up a long road that meanders through houses and fields, until you near the temple grounds. The first sign that you’re approaching Yongmunsa Temple are the two stone guardian posts of Yongmunsa Temple. While these two stone guardian posts are newer in design, they are masterfully executed with their playfully devilish expressions.
Before arriving at any of the entry gates at Yongmunsa Temple, you’ll first find an outdoor shrine dedicated to a stone image of Jijang-bosal (The Bodhisattva of the Afterlife). And to the right of the Cheonwangmun Gate that looms in the background is the newly constructed diminutive pavilion that houses an older wooden guardian post. The paint has mostly faded from the wooden post, but you can still distinguish its features.
After walking over the beautiful bridge and past the newly built pavilion for the wooden guardian post at Yongmunsa Temple, you’ll see the Cheonwangmun Gate. Entering the Cheonwangmun Gate, you’ll see the Four Heavenly Kings inside. At Yongmunsa Temple, this entry gate is actually called the Cheonwang-gak Hall, and it dates back to 1702. If you look close enough, you’ll notice that Jeungjang Cheonwang (King of the South) has dropped his sword and that Jiguk Cheonwang (King of the East) has his lute laying in his lap. Also, Gwangmok Cheonwang (King of the West) seems to have misplaced his dragon. These subtleties point to the impertinence of time that is so central to Buddhism.
Underneath and through the Boje-ru Pavilion, you’ll enter the large temple courtyard. Overall, the temple grounds are well maintained. Upon first entering the main temple courtyard, you’ll find the monks’ dorms to your right. And to your left are the temple’s facilities like the administrative office. Straight ahead of you is the Daeung-jeon Hall. The exterior walls are adorned with the Shimu-do (Ox-Herding Murals). And up in the eaves, you’ll find wonderful decorative dragons. These dragons are large, colourful, and masterful. Stepping inside the Daeung-jeon Hall, you’ll find a ceiling beautifully adorned with dancheong that’s reminiscent of the main hall at Eunhaesa Temple in Yeongcheon, Gyeongsangbuk-do. There are various creatures like dragons that are suspended from the ceiling. The main altar is centred by Seokgamoni-bul (The Historical Buddha) and joined on either side by Bohyeon-bosal (The Bodhisattva of Power) and Munsu-bosal (The Bodhisattva of Wisdom). Both Bodhisattvas wear wonderfully ornate crowns. Hanging on the far right wall is a painting that depicts three Buddhas and dates back to 1897. The other equally older mural hanging on the far left wall is the Shinjung Taenghwa (Guardian Mural).
To the right of the Daeung-jeon Hall is the Myeongbu-jeon Hall that dates back to 1662. Sitting on the main altar inside the Myeongbu-jeon Hall is a green haired image of Jijang-bosal (The Bodhisattva of the Afterlife), who sits upon a red silk pillow. Jijang-bosal is surrounded on both sides by ten large statues of the Siwang (The Ten Kings of the Underworld). Interestingly, and a bit tucked away and around the corner of the Myeongbu-jeon Hall, is the tiny shrine hall that houses the “Stone Buddha of Yongmunsa Temple.” Based upon the style of the statue, it’s believed to date back to the mid-Goryeo Dynasty (918-1392). Also based upon its design, it’s believed that this image is meant to represent Daesaeji-bosal (The Bodhisattva of Wisdom and Power for Amita-bul). Rarely does this statue appear alone. Typically, Daesaeji-bosal is part of a triad that consists of Amita-bul (The Buddha of the Western Paradise) and Gwanseeum-bosal (The Bodhisattva of Compassion), as well. This statue was previously buried in the ground after the temple’s destruction during the Imjin War.
To the far left of the Daeung-jeon Hall, and up an embankment, are two additional buildings. The first is the Nahan-jeon Hall that houses statues of Seokgamoni-bul, Mireuk-bul (The Future Buddha), and Yeondeung-bul (The Past Buddha) on the main altar. The main altar statues are joined by sixteen Nahan (The Historical Disciples of the Buddha) statues inside the Nahan-jeon Hall. And the other shrine hall in this area is the Chilseong-gak Hall. This shaman shrine hall is quite unique, as it houses three murals dedicated to Chilseong (The Seven Stars) on the main altar. All three of these murals are older in composition. To the left of the main altar set dedicated to Chilseong is a mural dedicated to Sanshin (The Mountain Spirit). And to the far right is a mural dedicated to Dokseong (The Lonely Saint).
How To Get ThereFrom the Namhae Intercity Bus Terminal, you’ll need to find the “Namhae-Gacheon – 남해-가천” bus. You’ll need to take this bus for 17 stops, or 40 minutes, and get off at the “Miguk-maeul hacha – 미국마울 하차” stop. From where the bus drops you off, you’ll need to head north up the “Miguk-gil – 미국길” road. You’ll eventually come to the temple parking lot. Keep heading north. The entire walk should take about 17 minutes over 700 metres.
Or you can simply take a taxi from the Namhae Intercity Bus Terminal. The taxi ride will last 17 minutes over 13 km, and it’ll cost you 23,000 won (one way).
Overall Rating: 7.5/10The obvious highlight to this temple, which also just so happens to be a Korean Treasure, is the central Daeung-jeon Hall. From its simplistically masterful Shimu-do that adorn its exterior to the wonderful dancheong interior, The Daeung-jeon Hall at Yongmunsa Temple is beautifully adorned with Buddhist artistry. Also of interest is the mid-Goryeo Dynasty “Stone Buddha of Yongmunsa Temple,” the triad of Chilseong murals inside the Chilseong-gak Hall, and the Cheonwang-gak Hall. Yongmunsa Temple in Namhae is one of those temples that you’ve probably never heard about before, but you definitely won’t regret visiting.
One of the two new stone guardian posts at the entry to the temple grounds. The bridge leading up to the Cheonwang-gak Hall. A look back from the Cheonwang-gak Hall towards the newly built smaller shrine hall. The wooden guardian post housed inside the smaller wooden shrine hall. Jeungjang Cheonwang (King of the South) inside the Cheonwang-gak Hall. A look towards the Boje-ru Pavilion from the Daeung-jeon Hall. One of the Shimu-do (Ox-Herding Murals) that adorns the exterior of the Daeung-jeon Hall. One of the decorative wooden dragons near the signboard entryway to the Daeung-jeon Hall. The main altar inside the Daeung-jeon Hall. The Shinjung Taenghwa (Guardian Mural) inside the Daeung-jeon Hall. The main altar inside the Myeongbu-jeon Hall. The small shrine hall that houses the “Stone Buddha of Yongmunsa Temple.” A look at the “Stone Buddha of Yongmunsa Temple.” The main altar inside the Nahan-jeon Hall. One of the Chilseong (Seven Stars) murals inside the Chilseong-gak Hall. Beautiful blue hydrangeas at Yongmunsa Temple.—Dale's Korean Temple Adventures YouTube
₩450,000 - OnCheonJang Station - 35 sqM Newly Remodeled
3,000,000/450,000
This apartment is 200 meters from OnCheonJang Station (온천장역).
You can see HomePlus and CGV Cinema from the window --
There are MANY quality restaurants close to this home.
Internet and Wi-Fi included for free.
We can keep the electricity, gas and apartment fees in our name and bill them back to you.
We can rent it furnished or unfurnished.
We are foreigners so we understand the problems of foreigners renting in Korea.
There are visa issues, contract issues, language issues. We will do our best to remove these problems for you.
Make a deposit and we can hold the apartment until your current lease is finished.
Contact us with your time requirements and we will quote a price for rent and deposit.
Click here to see the apartment -> YOUTUBE
0.jpg Map.jpg 13.jpg 5.jpg 7.jpg 8.jpg 6.jpg 10.jpg Subway.jpg CGV.jpgHow Overworked Are Koreans? | Street Interview
Did you know that South Koreans work an average of 1,915 hours a year? Based on the most recent data available from the OECD, that’s the highest among all countries in Asia and the 5th highest in the world. Recently, the government faced a massive backlash when they tried to increase the weekly cap on working hours from 52 to 69. For now, the government had to drop the idea. But how do Koreans feel about their current work hours and why do so many people have to work overtime in the first place? Our Asian Boss reporter hit the streets of Seoul to find out.
The opinions expressed in this video are those of individual interviewees alone and do not reflect the views of ASIAN BOSS or the general South Korean population.
0:00 - Intro
0:31 - How many hours do you work per day?
1:55 - Governments’ (failed) plan to increase weekly work hours to 69
4:39 - Why do so many Koreans have to work overtime?
9:44 - Have you ever wanted to quit because of overtime work?
12:13 - Death by overwork
15:11 - How important is work-life balance for you?
18:18 - Do younger people want to work less hard?
20:24 - Do you think Korea will ever enforce a 4-day work week
Follow us on social media:
Instagram ► https://www.instagram.com/asianbossme...
Facebook ► https://www.facebook.com/asianboss
Twitter ► https://twitter.com/asianbossmedia?la...
TikTok ► https://www.tiktok.com/@asianbossmedi...
..
—- Mogao (Our Community App)
- Official Website
- TikTok
- Instagram
- Facebook
Why V’s “Taetae language” is IMPOSSIBLE to translate | BTS Analyzed
Today’s episode is all about V or Taehyung, who’s known in BTS for his unique bass vocals.
In this series I analyze the Korean speaking of the music group BTS (방탄소년단). As a Korean teacher I’ll share my opinions on how each member sounds, what dialect they use (if any), as well as any unique expressions, and their personalities while speaking Korean.
Want to start learning Korean? Check out my book, "Korean Made Simple" on Amazon: http://amzn.to/2bDBi6h (affiliate)
Please consider supporting me on my Patreon page: https://www.patreon.com/gobillykorean
New merch is now available! https://teespring.com/stores/gobillyk...
Check out more of my “Grading Korean” series here:
• Grading Korean
00:00 Intro
00:57 Who is V?
02:17 Start the Analysis
02:32 V’s Soft Voice
03:48 V’s Polite Speech
07:40 V’s Sentences
11:00 V’s Filler Words
12:57 V’s Handwriting
13:55 V’s Dialect
16:59 Taetae Language
22:11 Conclusion
Learn Korean with GoBillyKorean! Subscribe for weekly videos! http://goo.gl/9Dm5g
Music by Kevin MacLeod: “MJS Strings,” and “Brightly Fancy.” (http://incompetech.com) Licensed under Creative Commons: By Attribution 3.0 (http://creativecommons.org/licenses/b...)
—FOLLOW ME HERE: SUBSCRIBE BY EMAIL:
LG Humidifier / Air Purifier
Price: ₩40,000 negotiable. PIckup at seller's apartment.
Prepare for the drier months with this humidifier. Also does air purification in one step with its "air washer" feature. Contact using KakaoTalk ID: 'shiraun'
IMG_6089 copy.jpg IMG_6090 copy.jpg IMG_6091 copy.jpg
Kindy wanted Kimhae
Looking for a kindy gig- Mon Tues and Friday- Saturdays possible too. 01031207766 Richard the Handsome