User:Waygugin/Hwaeomsa

Hwaeomsa is a Buddhist temple in Gurye, Jeollanam-do, South Korea. Situated on the southern slope of Jirisan, Hwaeomsa is the head temple of the 19th district of the Jogye order. Although an absence of contemporary documentation makes the temple's earliest history uncertain, the growing consensus among scholars today is that Hwaeomsa was founded by the monk Yeongi in the mid-8th century, during the Unified Silla period. However, early histories of the temple such as the Hwaeomsa Chronicle place its origins as far back as 544 CE.

A large expansion by King Gyeongdeok precipitated Hwaeomsa's development into a key monastery of the Flower Garland school, enabling it to produce many of late Unified Silla's most eminent monks. Extensive improvements were also made by National Preceptor Doseon, a great Korean luminary of feng shui. The influence of Hwaeomsa waned under sectarian division caused by the Later Three Kingdoms period but it quickly recovered after the establishment of the Goryeo Dynasty, whose rulers renewed state financial support. Another important expansion was overseen by National Preceptor Uicheon in the 11th century.

Hwaeomsa continued to thrive throughout the early Joseon Dynasty despite the anti-Buddhist policies in force during that period. The temple was destroyed by invading Japanese troops during the Imjin War, including the main edifice of the temple, Jangnyukjeon Hall, which was well known for its stone walls engraved with the entire Flower Garland Sutra. Restoration of Hwaeomsa began in 1630 under the leadership of the preeminent Joseon monk, Byeogam Gaseong, who oversaw the construction of Daeungjeon Hall—the current main hall. More reconstruction was carried out by his many disciples, notably Gyepa Seongneung, who in 1703 completed Gakhwangjeon Hall, now the temple's largest building and National Treasure 67. During the Japanese occupation, Hwaeomsa became one of 31 head temples set up by colonial authorities.

The majority of Hwaeomsa's Buddhist sculpture date to the Unified Silla period. Unusually, there are four pagodas—including the unique three-story pagoda, a masterpiece of the non-typical style of stone pagoda which has been named National Treasure 35. The temple's stone lantern is the largest in South Korea, as well as National Treasure 12. Its paintings though, all date from the mid-17th century onwards. Hwaeomsa's gwaebul, a large painting used for outdoor ceremonies, is National Treasure 301. The temple also has eight Treasures, two Natural Monuments and two items of Local Tangible Heritage (Jeollanam-do). Today, Hwaeomsa is one of South Korea's most well-known Buddhist temples and draws large numbers of worshipers and tourists.

Location
Hwaeomsa is located near Hwangjeon-ri, a village in the township of Masan, Gurye County—in the northeast corner of Jeollanam-do. It is nestled between the peaks of Wonsabong and Hyeongjaebong in a valley that ascends the south face of Jirisan, a mountain that is home to several Buddhist temples and has played an important role in all the ancient religions of Korea. Sillans called it Namak (lit. Southern Great Mountain), one of five holy mountains that protected the kingdom, on which resided a powerful mountain spirit to whom sacrificial rites were performed seasonally. As Taoism spread to the peninsula from China, it came to be believed that Jirisan was one of the legendary Three Spirit Mountains, a supernatural land where immortals dwelled. Jirisan was said to be Mount Fangzhang, while Kŭmgangsan and Hallasan were Mount Penglai and Mount Yingzhou, respectively. Sillan Buddhists believed their kingdom was the chosen land of the Buddha, whose mountains were inhabited by Bodhisattvas such as Manjusri on both Jirisan and Odaesan as well as Dharmogata on Kŭmgangsan.

The whole of Hwaeomsa is registered by the Cultural Heritage Administration as Scenic Site 38 as well as Historic Site 505.

Origins
The earliest history of Hwaeomsa is unclear due to an absence of contemporary documentation. A monk named Yeongi is named as the temple founder in Revised and Augmented Survey of the Geography of Korea (1481), and Meditations on Jirisan (1487), although neither can reveal anything about his life or when he lived except that he was a missionary from India. According to the Hwaeomsa Chronicle (1636), Hwaeomsa was founded in the fifth year of King Jinheung's reign (544 CE), when the kingdom of Baekje still held dominion over Gurye.

The Chronicle was completed in 1636 by Junggwan Haein (b.1567), an erudite cleric and scholar born to an aristocratic Joseon family, and has since become one of the principle sources. Its dating of Hwaeomsa's establishment, though, has been widely criticized as baseless, while Junggwan's description of Yeongi appears to have been based entirely in legend. In one passage he recounts a story from the temple elders who said that Yeongi first established Hwaeomsa after traveling from India with his mother, on a mythical beast part giant swallow and part turtle. Furthermore, as scholar Kim Bongnyeol writes, stories of Indian missionaries founding temples in Baekje abound and whether they were actually historical or conceived of to mimic Marananta—who transmitted Buddhism to Baekje in 384 CE—is far from certain.



Since 1979 many scholars have come to believe that Yeongi did indeed found Hwaeomsa, or expanded it from a preexisting site, but during the reign of King Gyeongdeok (r. 742–65) of Unified Silla. This followed the discovery in that year of two hand copied scrolls, which appear to contain the only documentation contemporary with Yeongi. Each one contains ten chapters of the 80 chapter version of the Flower Garland Sutra translated from Sanskrit by Śikṣānanda (652–710). The postscript on one scroll, which outlines the particulars of their production, states:

The copying began on the first day of the eighth month of the thirteenth year kabo, of T'ien-pao (23 August 754) and was completed on the fourteenth day of the second month of the following year, ŭlma (30 March 755). One who made a vow to copy the scripture is Dharma Master [Yeongi] of Hwangnyong Monastery. His purposes were to repay the love of his parents and to pray for all living beings in the dharma realm to attain the path of the Buddha.

Yeongi, it seems, hailed from Hwangnyongsa, not India, and produced these scrolls at Hwaeomsa during the mid-8th century, along with the 19 copyists and artisans under his direction. According to historian Jeon Byeongsam the writings of National Preceptor Uicheon (1055–1101) lend weight to this view. The lost works of Yeongi are listed in Uicheon's New Catalog of Buddhist Sectarian Writings —a chronological index of religious texts from India, China, Korea and Japan—which suggests that Yeongi was active during the mid-8th century. Uicheon greatly admired Yeongi, writing elsewhere (in perhaps the only extant passage about his life) that he was an erudite cleric who had a mastery of the scriptures and a great many followers.

Unified Silla
As Buddhism flourished during Unified Silla (668–935), Hwaeomsa emerged as one of its leading monasteries. Its first royal patron was King Gyeongdeok, whose reign also saw the construction of Bulguksa and the Seokguram Grotto near Gyeongju. According to the Record of Boseong, Gyeongdeok ordered the construction of eight new halls of worship and 81 hermitages at Hwaeomsa, a scale that would have made it one of the largest monasteries in the kingdom. The temple was a member of Silla's most influential Buddhist order, the Flower Garland school (Kor. Hwaeomjong), a Korean transmission of the Chinese Huayan school which was established by Uisang (625–702) during the 7th century. From the writings of Uicheon, it is likely that the school of Buddhism at Hwaeomsa emphasized the philosophies of Uisang and Wonhyo (617–686), both of whom were responsible for the rapid spread of Buddhism throughout Silla, as well as the works of its founder, Yeongi. The fact that Hwaeomsa was named after the school's most venerated scripture is a strong indication that it held significant influence within the Flower Garland school.

Many of late Silla's leading monks also came from Hwaeomsa. The feng shui luminary, National Preceptor Doseon (827–98), who had become a novice at Hwaeomsa when he was 15, oversaw a large expansion of the temple in 875, at which time Hwaeomsa probably reached its greatest size. National Preceptor Gaechung (835–930) studied the Flower Garland Sutra at Hwaeomsa under abbot Jeonghaeng; while National Preceptor Gyeongbo (869–948) and Hyeongmi (864–917) (later an abbot of Muwisa) were ordained at Hwaeomsa by their master Gwandan. The great success that would later be enjoyed by Seon Buddhism can partially be attributed to the great monasteries of the Flower Garland school such as Hwaeomsa.

The principle edifice of Hwaeomsa was Jangnyukjeon Hall. Though no longer extant, sources say it was three stories in height and measured seven bays across on each side. The walls inside the hall were lined with stone tablets onto which were engraved the entire Flower Garland Sutra, using the aforementioned Śikṣānanda translation. Given its name, it is likely the hall housed a statue of the Buddha Sakyamuni which stood 16 ft in height. Kim Bongnyeol postulates that because of the hall's size it was probably used to give sermons in, while monks could also have studied scripture passages from the walls. Problematically, the sources also say that the hall was erected by Uisang circa 670 CE during the reign of Unified Silla's first ruler, King Munmu (r. 661–81). Study of the surviving wall fragments has concluded that the engravers in fact used three translations of the Flower Garland Sutra to produce the interior walls: the 60 chapter version made in 418 CE, the 80 chapter Śikṣānanda translation from 685 CE, and the 40 chapter version that was not completed until 797 CE. The inclusion of the latter two versions makes accreditation to Uisang unlikely, while the architectural style of Jangnyukjeon Hall's extant stone base is more typical of late Unified Silla design.

The collapse of Silla rule and ensuing Later Three Kingdoms period (892–936) precipitated a fierce schism within the Flower Garland school, dividing it into the Northern and Southern schools. Lead by the monk Huirang, the Northern school supported General Wang Geon, who eventually founded the Goryeo Dynasty in 918. It was based at temple of Buseoksa, on Mount Taebaeksan; then commonly called Bugak (Northern Mountain), one the five holy mountains of Silla. Meanwhile, at Hwaeomsa, the monk Gwanhye lead the Southern school, which supported the establishment of Later Baekje by the rebel leader Gyeon Hwon (867?–936), and had correspondingly been named after Jirisan's ancient name of Namak (Southern Mountain). The monk Gyunyeo (923–973), himself a member of the Northern school, famously wrote of the conflict, "This division even affected their followers, who opposed one another like fire and water. They even began to distinguish salty and sour tastes in the flavor of the dharma." Following the conquest of Later Baekje in 936, Gyunyeo was able to facilitate a reconciliation between the two factions since there were no fundamental differences of doctrine. By this time, however, decades of sectarian division had already taken their tole on the standing of the Flower Garland school, whose influence waned with the rise of the Dharma Characteristics school and the Lotus school.

Goryeo Dynasty
Information about the Goryeo Dynasty (918–1392) is sparse. What is known largely comes from the Hwaeomsa Chronicle a history completed in 1924 by the monk and later abbot of Hwaeomsa, Jeong Byeonheon (1891–1969). Throughout the dynasty it is certain that Hwaeomsa continued to receive state protection and financial support. Following his accession, King Taejo (r. 918–43) initiated a building program of Buddhist temples, beginning with a large scale expansion of Hwaeomsa out of reverence for National Preceptor Doseon. Decades later, Goryeo's fourth ruler King Gwangjong (r. 949–75) commanded the monk Honggyeong to repair the temple's dilapidated halls and hermitages. During the 11th century National Preceptor Uicheon, the fourth son of King Munjong (r. 1047–83), also expanded the size of the temple, possibly to its greatest extent. Munjong had meanwhile been donating a portion of his yearly grain revenues from Jeolla-do and Gyeongsangnam-do to Hwaeomsa. The size of the contribution was such that it required the construction of two warehouses outside the temple gates to store it. Further renovations were made to Hwaeomsa by the monk Jeongin (d.1213), a noted scholar of the Flower Garland Sutra, with the patronage of King Injong (r. 1122–46).

Though new construction and renovations appear to have been extensive, it is largely unclear what was built. Of the few structures mentioned in the sources, none are extant today. This includes a stele commemorating Doseon that was erected in 1172; and Gamjeon Hall, which was built by Royal Preceptor Johyeong during the reign of King Chungsuk (r. 1313–30) and may have been used to pray for the king. There is also a description of a hermitage named Wonsoam, which dates to the reign of King Chungnyeol (r. 1274–1308), and another called Jeokgiam from the reign of King Gongmin (r. 1351–74). The last record from this period concerns the construction of Chyeongnyeonam hermitage by the monk Chyeongnyeon.

Early Joseon
After centuries of growth and prosperity the Joseon Dynasty (1392–1897) proved to be a tumultuous period for Hwaeomsa. Neo-confucianism took prominence in the new kingdom while it rulers and officials eliminated state support for Buddhism and implemented policies designed to reduce its presence. The number of monasteries was reduced to 242 by King Taejong (r. 1400–18) and then King Sejong (r. 1418–50) later eliminated all but 36—divided equally into the Doctrinal Order (Kor. Gyo) and the Meditation Order (Kor. Seon). Hwaeomsa was able to carry on financially thanks to the large tracks of farm land it possessed and the several renown monks which it had already attracted. And although as a member of the Flower Garland school Hwaeomsa had traditionally been part of the Gyo tradition, it was for unknown reasons hereafter recognized as a Seon temple and in 1426 given the title Principle Monastery of the Seon Order.

The various restrictions on Buddhist activities did not prevent assemblies of monks and lay persons to gather at Hwaeomsa for lectures on doctrine and meditation. The first recorded assembly on Zen meditation was during the late 15th century, sometime between 1469 and 1494, under the instruction of a monk named Seoreung. Very little is known of his life, although according to the scholar Nam Hyoon (1454–92) Seoreung was abbot of Hwaeomsa and well-versed in Buddhism, Taoism, and Confucianism. In 1560, the monk Sungin, who was teacher to Seosan, held another such assembly at the hermitage of Cheongnyeonam. In 1584, Seonsu (1543–1615) gave a series of lectures on the Tripitaka at Hwaeomsa which drew a large audience including some of the most learned priests of Joseon. Decades before writing his history of Hwaeomsa, Junggwan Haein also lectured on the Tripitaka in 1587 at the hermitage of Yongmunam. The monk Muyeom Gyehun became very well known for the lectures he gave at Hwaeomsa on the Prajnaparamita sutras in 1591.

Imjin War
In 1592, the Japanese feudal lord Toyotomi Hideyoshi invaded the Korean peninsula, beginning a conflict that would last seven years and devastate the kingdom. The following year Hwaeomsa was burned to the ground by Japanese soldiers, among other great monasteries lost to the war. To defend against the onslaught, the Buddhist orders of Joseon organized themselves into fighting units called the Righteous Monk Army. Hwaeomsa abbot Seolheung lead a 300-strong force of monks and regular soldiers to halt the Japanese advance into Jeolla. The battle was fought in the strategically important valley of Seokjujin, which stretches for about 20 km between the Jirisan peaks of Nogodan and Wangsirubong, linking the counties of Hadong and Gurye. The troops under Seolheung's command attempted to ambush Japanese forces as they made their way through the valley, but were severely outnumbered and ultimately killed during the battle.

The Hwaeomsa monk Yunul distinguished himself at the siege of Jinju and also served as an executive officer under Admiral Yi Sun-sin, for which he was honored by the state; following the war, he retired to Ubeongul grotto, at the foot of Jirisan's Gilsangbong peak, to spend his remaining years pursuing a life of asceticism. In another account, daimyo Katō Kiyomasa, a senior Japanese commander, was said to have thought very highly of Hwaeomsa's temple bell and ordered it shipped to Japan. His men transported it as far as Yongdu-ri, a village between Hwaeomsa and the temple of Ssanggyesa, where they attempted to ferry it across the Seomjin River. Inexplicably, the boat carrying them suddenly capsized with everyone on board, including the bell, sinking to the bottom of the river.

Restoration


The reconstruction of Hwaeomsa was lead by Byeogam Gakseong (1575–1660), an influential monk of the 17th century. Gakseong was a leading member of the Righteous Monk Army and enjoyed several victories at sea against the Japanese, where he fought alongside the Ming Admiral Li Zongcheng. His influence grew following the war; in 1624 he was appointed commander of the Monk Army, and following the fortification he supervised of the mountain fortress of Namhansanseong was given the highest honors by King Injo (r. 1623–49). As the leader of Korean Buddhists, Gakseong set about restoring monasteries destroyed during the Imjin War and the 1627 invasion by the Manchu. His reconstruction of Hwaeomsa took place from 1630 to 1636, during which time Gakseong built Daeungjeon Hall, the temple's main hall, new dormitories for monks, and other structures such as Myeongbujeon Hall and the temple gates. Nevertheless, the shattered state of Joseon's economy prevented Gakseong from acquiring the resources he needed to rebuild the monastery on its formerly grand scale, including Jangnyukjeon Hall, which had stood as the symbol of Hwaeomsa for centuries.

Further restoration was continued by Gakseong's disciples; religious lectures, in particular, were an important means of attracting attention to Hwaeomsa after decades of inactivity. One disciple, the erudite Baekgok Cheoneung (1617–70), whose elegant prose was complimented by King Hyojong (r. 1649–59) in a letter to Gakseong, gave a series of lectures on the Flower Garland Sutra to monks and laypersons in 1646. This was followed up in 1648 by Chwimi Sucho (1590–1668) who convened a large worship ceremony of monks. Hwaeomsa's return to prominence became evident the following year when King Hyojong elevated Hwaeomsa to a Great Monastery of the Seon Order; and later in 1679 with the appointment of the monk Jinil as commander of the Monk Army.

Gakseong had left instructions before his death requesting that the monk Gyepa Seongneung rebuild Jangnyukjeon Hall. Acquiring the necessary funds continued to prove difficult, thus construction only commenced in 1699. Financing the construction of large scale temple buildings such as this was enormously difficult during the Joseon Dynasty since the benefactors of Buddhist monasteries during this period were typically poor farmers and women. The primary benefactor of the hall's construction was Lady Hwagyeong (1670–1718), a concubine of King Sukjong (r. 1674–1720) who elevated Hwaeomsa in 1701 to Grand Monastery of the Two Orders. Upon the hall's completion in 1702, a new name tablet was sent from the capital to commemorate its restoration, renaming it Gakhwangjeon Hall.

Late Joseon
Hwaeomsa had by the 18th century largely regained its place of importance within Korean Buddhism and attracted many learned monks to lecture at the temple and its hermitages. Myeonggok Hyeonan, a descendant of Sungin, lectured on meditative and textual Buddhism at Hwaeomsa in 1706; his followers later erecting a monument to him at the temple where they interred his remains. In 1708 the great Flower Garland school luminary, Seoram Chubung (1651–1706), lectured on the Tripitaka and carried out repairs to the temple with abbot Seolsim and the monk Sabaek. Yonggok Ilsim, who lectured at Hwaeomsa in 1724, published several treatises at Hwaeomsa with the assistance of abbot Cheolsik at a time when the difficult and expensive task of book printing was only carried out by the most well established monasteries. On the advice of the government officials Jo Hyeongmin (1690–1752) and  Yunsu (1680–1741), in 1729 the state bestowed honors to the commanders of the Righteous Monk Army from the southern provinces in recognition for its service during the Imjin War and the Manchu invasions; the recipients from Jeolla though, all respectfully refused their honors in favor of the abbot of Hwaeomsa.

In 1771, the monk Yeonggok Yeongu lectured on the Flower Garland Sutra, and a service of felicitation was held by Bongam at the hermitage of Gucheungam. Controversy ensued in 1785 after the temple abbot invited the learned monk Hyeam Yunjang to lecture at the hermitage Naewonjeongsa. The event drew about 1500 people, proving to be one of the largest such Buddhist lectures ever held in the kingdom. However, the provincial governor, who was concerned that a crowd this size could grow rebellious, conspired to have Yunjang imprisoned and then banished him to Jeju-do. Outraged at this injustice, his disciples successfully petitioned for Yunjang's release, with the governor himself ultimately being sentenced to exile.

Abbot Okhyeong became Patriarch of 팔도승풍규정 in 1799 while the monk Haengwon became Patriarch in 1807. The Ministry of Rites appointed the monk Geumbong Uik to the position of Patriarch of 팔도승풍규정 in 1832 and the monk Jiwon to commander of the Monk Army in 1862. The monk Wonhwa Deokju (1839–93), one of Joseon's leading thinkers on the Flower Garland Sutra, lectured at Hwaeomsa in 1884. Cheongha Tanjeong, a monk reputed for his kindness who had not stepped outside of the temple gates for about forty years, held meditation sessions at Gyeongseongdang Hall in 1900 and at the hermitage of Sanwonjeongsa the following year.

Layout and architecture
During the Unified Silla period Hwaeomsa was likely arranged along a north–south axis, while adhering to the "one pagoda one hall" principle preferred by the Flower Garland School. At the center of the temple stood a stone pagoda (today the East Pagoda) in front of the main hall of worship, behind which was a staircase leading to the stone lantern and Jangnyukjeon Hall, while the perimeter of the temple was probably connected by long corridors. Although the buildings are now gone, the original stonework has largely survived intact. Important changes occurred around the establishment of the Goryeo Dynasty, when it seems the West Pagoda was erected in the courtyard and a new main hall was built where Daeungjeon Hall is today. This new main hall and the change to a two pagoda layout is considered by Kim Bongnyeol to be strongly indicative that Hwaeomsa ceased to be a member of the Flower Garland School and was incorporated into a different Buddhist sect.

The present layout dates to the 17th-century reconstruction. The path to Hwaeomsa passes through several gates which lead to the courtyard, surrounding which are the majority of the temple buildings. Facing southwest over the courtyard, Daeungjeon Hall is the main hall of worship. It is dwarfed in size by Gakhwangjeon Hall, thus creating what appears to be two centers of gravity at Hwaeomsa, and making the layout decidedly unique among Korean temples. The high stone walls surrounding the courtyard below the two largest halls divide Hwaeomsa into the upper level for places of worship, and the lower level for monastic buildings.

Daeungjeon Hall


Daeungjeon Hall (大雄殿: Great Hero Hall) is the temple's oldest wooden structure and an exemplar of mid-Joseon Buddhist architecture. It is a single story structure measuring five bays across by three deep, built on a post and lintel style stone base that was used by the temple's previous main hall. The tiled roof is hipped and gabled, the eaves supported and elongated by clusters of multiple interlocking brackets. Along the front wall, sets of three panel diagonal cross-latticed doors occupy the spaces between the columns. Meanwhile, a large distinctive X figure can be seen in the central bay of each side wall. The wooden altar and overhanging canopies above the altar statues were crafted with great elaborateness compared to the relative simplicity of the exterior. The name tablet (pyeonaek) above the entrance is the calligraphy of Prince Uichang (1589–1645) and was presented to Hwaeomsa upon the completion of construction, a display of royal favor which Choi Wansu believes raised the temple's status within the Buddhist community while protecting it from government officials. The verse couplets (juryun) hanging from the front columns were produced by the calligrapher Kim Yonggu (1907–1982), of Gwangju, and quote from the writing of Baekpa Geungseon (1767–1852) and Uisang. The hall was registered as Treasure of South Korea 299 in 1962.

The inner sanctuary contains a shrine to the trikaya, a triad of the Buddhas Vairocana, Sakyamuni and Rocana. This is unusual since in the Flower Garland tradition Vairocana would ordinarily be worshiped in a structure called Daejeokgwangjeon Hall, the term Daeungjeon being reserved for Sakyamuni. The three wooden altar statues of the trikaya were sculpted during the hall's construction by the monks Cheongheon, Yeong-i, Ingyun and Eungwon, and designated Treasure 1548 in 2008. The hall's altar paintings were executed in 1757 by the monk Euigyeom (a.1710–1760), a renowned Buddhist artist active around Jirisan, and his guild of 13 monks, and designated Treasure 1363 in 2003.

Gakhwangjeon Hall
Gakhwangjeon Hall (覺皇殿: Hall of the Enlightend Lord) is the largest building at Hwaeomsa. Its post and lintel style stone platform dates to Jangnyukjeon Hall. The wooden structure is two stories in height and measures seven bays across by five deep, the only temple hall built in the late Joseon Dynasty to fit these dimensions. Its hipped and gabled roof displays elaborate bracketing under the eaves, which combine traditional techniques with designs unique to Gakhwangjeon Hall. Elaborate lattice panel doors are installed on the first floor as well as horizontal latticed windows on the second, flooding the interior with sunlight. The inner sanctuary is a single open space with a coffered ceiling. The large wooden altar stretches almost the whole length of the building, and like other similar sized structures, there is no canopy above the altar statues. The name tablet was produced by Lee Jinhyu (1657–1710), an official in the Ministry of Punishments. The hall's verse couplets were also produced by Kim Yonggu, quoting from Uicheon and some unknown text. Gakhwangjeon Hall was named National Treasure 67 in 1962.

The hall's seven altar statues were executed in 1703 by the influential Buddhist sculptor Saengnan and his guild of 24 monks. The primary icons are a seated triad depicting the Buddhas of the Three Periods, with Sakyamuni representing the Buddha of the present, Prabhutaratna as Buddha of the past, and Amitābha as Buddha of the future. The statue of Sakyamuni is 3.5 m high and seated in the lotus position, his hands in the bhumisparsha mudrā. Each reaching a height of 3.2 m, the statues of Prabhutaratna and Amitābha form near mirror images of each other, their hands in the vitarka mudrā. Interspaced between the Buddhas from left to right are standing statues of the Bodhisattvas Avalokiteśvara, Samantabhadra, Manjusri, and Ksitigarbha. These figures were sculpted with greater intricacy than the Buddha statues, in particular the drapery and crowns. Three altar paintings depicting the Buddhas of the Three Periods were executed in 1860 by the monks Haeun, Punggok, Seoun, Cheoru, Wolheo, Haemyeong and Seoam. The artists, though, mistook Prabhutaratna for Bhaisajyaguru, the Buddha of healing and medicine, whom 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) was retrieved from inside one of the statues in 1975.

Wontongjeon Hall


Wontongjeon Hall (圓通殿, Hall of Perfect Penetration) was built in 1703 and is dedicated to the worship of Avalokiteśvara. Its architecture and proximity to Gakhwangjeon Hall make it likely this building was initially used as a place of prayer to the royal family following its support for Gakhwangjeon Hall's construction, similar examples of which are also extant at Beopjusa, Seonamsa, Heungguksa and Tongdosa. The stone platform, stairs and threshold, though, date to the Unified Silla period (9th c.), likely from an earlier hall, or the remains of a corridor to the formerly adjacent Jangnyukjeon Hall. The hall's wooden structure measures three by three bays; it has a hipped and gabled roof, and wooden door panels of diagonal latticework along the facade. Inside, the altar is positioned along the center of the rear wall accompanied by an overhanging canopy. There is a welled ceiling, which is elevated above the altar, and frescoes of apsaras decorate the walls. Despite its modest size, the hall's roof is supported by the outer columns as well as four interior columns around the altar. The name tablet of Wontongjeon Hall was probably produced around 1800, and the hall itself repaired in 1984. The hall's verse couplets were produced by Kim Yonggu and quote from the prayer Homage to Avalokiteśvara

The crowned statue of Avalokiteśvara in the inner sanctuary is 1.1 m in height and was probably executed during the late-Joseon period. Wearing robes draped over both shoulders, the Bodhisattva face's displays delicate facial features, an urna on the forehead, and three folds in the neck. An altar painting of Avalokiteśvara was executed by the monk Kim Uil (1901–1998), likely around 1965. It depicts the Bodhisattva among bamboo trees on Mount Potalaka overlooking a moonlit sea, as Sudhana listens to her teachings. A painting of the Seven Stars depicts the Tejaprabha Buddha, attended by the Bodhisattvas Suryaprabha and Candraprabha. The hall's painting of the Lonely Sage was executed by the monk Boeung Munseong (1867–1954), depicting the seated sage with prayer beads in hand, accompanied by the hermit Jingak and Sudhana. The hall's painting of the Mountain Spirit was executed with funds contributed by a couple praying for a son. The spirit is portrayed seated and leaning over a tiger while clutching a gnarled cane in his right hand and a fan of crane feathers in his left, a waterfall tumbling from a misty mountain surrounded by old pines trees and white clouds in the distance. The latter three works were completed at Tapjeon Hall in 1897.

Bojearu Pavilion


Bojearu Pavilion (普濟樓, Pavilion of Universal Salvation) was originally built to accommodate gatherings of monks and worshipers for memorial services but is now used for giving sermons. It is situated across the courtyard from Daeungjeon Hall, between Beomjonggak and Ungogak Pavilions. The pavilion was likely erected about 1636, with heavy renovations in 1827 by the monks Geumbong Ik and Nanggyu. The pavilion was renovated again in 2006.

Possessing a gabled roof and undecorated by dancheong, Bojearu measures seven bays across and four deep. On the south side, facing the route towards the temple, the floor is supported by thick wooden columns on stone bases that elevate the structure off the ground, giving it a two-story appearance. The entrance is along the north side, facing the courtyard, although there are large windows that can be opened along the south wall. Inside, the rafters in the roof are exposed and the paneled floor is covered in straw matting. Bojearu Pavilion was designated Jeollanam-do Tangible Cultural Property 49 in 1974.

Myeongbujeon Hall
Myeongbujeon Hall (冥府殿, Judgment Hall) was built in 1630 and is devoted to the worship of the Bodhisattva Ksitigarbha. The building has a gabled roof and measures five bays across by three deep, making it larger than many of its counterparts elsewhere. There is lattice-work along the front only: two doors of diagonal lattice in the central bay and two wall panels each of horizontal lattice in the remaining bays. The eaves are supported by columnar brackets with wing-like tips. In 1970 the hall was renovated by the monk Reesan Dogwang (1937–1984). The hall's name tablet dates to 1799, but its verse couplets were produced in 1998 by the calligrapher Kim Eunghyeon (1927–2007) quoting from Appeal to Kṣitigarbha.

Inside, the altar is positioned along the rear and side walls. A statue of Ksitigarbha is at the center, attended to the immediate left and right by the Demon King Poisonless and the Venerable Tao-ming, as well as the Ten Kings of Hell. The central altar painting was executed in 1862 and depicts Ksitigarbha in a mourner's hood, attended on the right by Tao-ming, Manjusri, Avalokiteśvara, Maitreya, Mahêśvara, a heavenly boy monk, and an apsara; and on the left by King Poisonless, Samantabhadra, Mahāsthāmaprāpta, Dīpankara, Śakra a heavenly boy monk and an apsara. Along each side wall is a painting depicting five of the Ten Kings of Hell surrounded by their magistrate officials and overlooking their realms below where the wicked suffer. Executed in 1862, the three pieces resemble each other in coloring, layout and brushwork.

Minor halls and residences
Nahanjeon Hall (羅漢殿, Hall of Arahats) was built by the monk Damin in 1795 and contains a shrine to Sakyamuni and the Arahats. Located beside Gakhwangjeon Hall upon a stone platform, this tiny hall measures three bays across by two deep with wing-tipped brackets underneath the eaves and with lattice doors along the facade. Except for repairs to the platform and the tiled roof, the hall has largely been preserved in its original condition.

Yeongsanjeon Hall (靈山殿, Vulture Peak Hall) was built in 1874 by a Gurye County official named Bang Hyoam, an example of the renewed support for Buddhism by magistrates seen in the late Joseon Dynasty. Located to the southeast of Gakhwangjeon upon a stone platform, Yeongsanjeon Hall is five bays across by three deep with bracketed eaves and two-panel lattice doors along the facade. Ordinarily, a hall by this name would contain a shrine to Sakyamuni preaching to an assembly of devotees on Vulture Peak, as described in the Lotus Sutra, but at Hwaeomsa it is used as a dormitory.

Yeongjeon Hall (影殿, Hall of Portraits) was built in 1812. Located between Daeungjeon and Wontongjeon Halls, this structure measures five bays by three. Built upon a stone platform, it has a gabled roof and diagonal lattice doors and windows along the facade. Ordinarily, a hall by this name would be where portraits of eminent monks are enshrined but at Hwaeomsa it was made into a dormitory for nuns following a robbery in 1976.

Samjeon Hall (三殿, Hall of the Three Spirits) was probably built in the 1630s. Located behind Myeonbujeon Hall upon a stone platform, it has a hipped and gabled roof with wing-tipped brackets under the eaves. The name tablet was produced by the calligrapher Lee Samman (1770–1845) of Jeonju. Originally, Samjeon Hall had a five by three bay structure but subsequent renovations have since altered its appearance. It was first renovated in 1836 by the monks Geumbong Uik and Ohwan Changsu, in 1970 by Reesan Dogwang, and then in 1996 it was disassembled and rebuilt by abbot Jongnyeol. Today, the hall serves as the residence of the abbot.

Deokjangjeon Hall (德藏殿, Śrīgarbha Hall) was built in the 1632 by the monk Hyeonam. Located by Geumgangmun Gate upon a stone platform, it has a gabled roof and measures eight bays by three. Numerous renovations have all but effaced its original appearance. Its name tablet was produced by the calligrapher Song Taehoe (1873–1943).

Gwanghakjang Hall (光學藏, Treasury of Illuminated Study) was built by abbot Jonggeol in 2001 and is partly used as the temple office. Located to the right of Geumgangmun Gate, the structure consists of an eight bay long wing and a six bay long wing joined perpendicularly. Gwanghakjang and Deokjangjeon Halls are used as facilities for Hwaeomsa's temple stay program.

Manwoldang Hall (滿月堂, Full Moon Hall) was built during the 1630s but was later destroyed in a fire. It was rebuilt in 1986 by abbot Choi Jongwon (1941–1998), where a priestly college was established. The letter c-shaped hall measures eight bays along the length, and five and six bays, respectively, along the shorter ends. The entrance to the compound around the hall is Sajamun Gate (獅子門, Lion's Gate), just off the route towards the temple; its name tablet was produced by Lee Yeongsik.

Jeongmukdang Hall (寂默堂, Hall of Silence), the principle monastic residence of Hwaeomsa, was first built in 1783 and then expanded in 1798 by the monk Hwangak Haengwon, a disciple of Damin. It was repaired in 1978 by abbot Myeongseon (b.1936).

Cheonpungdang Hall (淸風堂, Hall of Cool Breezes) was constructed in 1987 by abbot Jongwon. The hall measure five bays by two and has a gabled roof. Today it serves as lodgings for worshipers. The entrance to the hall's compound is Sangwangmun Gate (象王門, Gajapati's Gate), opposite Sajamun Gate.

Bonghyanggak (奉香閣, Hall of Fragrant Offerings) was built in 1873 by Bang Hyogam. This structure serves as temporary accommodations for monks and laypersons who have come to pray at the adjacent Gakhwangjeon Hall.

Gyeonseongak Hall (見性閣, Hall of Self-awareness) is located behind Hwaeomsa's three-story pagoda, for which it is also commonly called Tapjeon Hall (塔殿, Pagoda Hall). Used as a dormitory for nuns, the hall was erected on a stone platform and measures five bays by three. The hall has a hipped and gabled roof, and all four walls are adorned with latticework. The date of the hall's construction is unknown, but it was repaired in 1937 and in 1970 by Dogwang. The name tablet was the calligraphy of Kim Yonggu, and a painting of the Seven stars enshrined inside dates to 1942. The entrance to the hall's compound is called Seonjeokmun Gate (惺寂門, Gate of Astute Stillness), its name table also produced by Lee Yeongsik.

Wonyungryo (圓融寮, House of Complete Inter-penetration) was built in 1987 by abbot Jongwon. Measuring two stories high and seven bays across, this building has kitchen, bath, and dining facilities as well as living quarters.

Beomjonggak Pavilion (梵鐘閣, Bell Pavilion) is the belfry of Hwaeomsa. Erected in 1918 by the monk Sebeom, modern renovation has all but replaced its original appearance. Rising from a granite platform, the pavilion has a hipped and gabled roof with undulating open work between the columns. Reaching a height of 1.2 m, the bell is the largest at Hwaeomsa. According to the inscription, it was cast in 1722 at the temple of Unheungsa. The crown is made in the shape of a dragon, its tail wrapping around the sound-pipe. It is decorated in arabesque scroll work, jeweled bands and Sanskrit characters.

Ungogak Pavilion (雲鼓閣, Cloud Drum Pavilion) is location of the four instruments: the cloud-shaped clapper, the dharma drum, the wooden fish, and the Brahma bell. Two stories high with a hipped and gable roof, it measures two bays by two. Previously, this structure was located on the site of Beomjonggak Pavilion, and was possibly used as the belfry until 1918 when it was disassembled by Sebeom and rebuilt in its current location. The pavilion was repaired in 1976 by Myeongseon and in 1998 by Jongnyeol.

Gates
The new main gate (sanmun) of Hwaeomsa was erected in 1988. The name tablet across the front reads "Hwaeomsa of Jirisan" (智異山華嚴寺), while the one on the back reads Great Korean Monastery of the Seon Order (海東禪宗大伽藍), a reference to the royal honors bestowed upon the temple by Hyojong in 1650. Both pieces of calligraphy were the work of Seokjeon Hwanguk (1898–1993), written with the left hand.

Iljumun Gate (一柱門, One Pillar Gate) was the traditional main entrance to Hwaeomsa and dates to 1636. The name table reads "Hwaeomsa of Jirisan" (智異山華嚴寺), and includes an inscription along the left side that indicates the calligraphy was the work of Prince Uichang. Two wooden columns support a hipped and gabled roof. The eaves display elaborate bracketing with a high degree of ornamentation, as evidenced by the stylized brackets and the lotus bud carvings on the ends of the brackets arms. Since the construction of a new main entrance, this gate has also come to be called Burimun Gate (不二門, Gate of Non-Duality), and is also sometimes referred to as Haetalmun Gate (解脫門, Gate of Liberation). The gate was repaired in 1866 by abbot Jiseon and provost Heiseong, in 1919 by abbot Jineung (1873–1941), and in 1998 by abbot Jeongeol.

Geumgangmun Gate (金剛門, Vajra Gate) displays statues of Benevolent Kings and Bodhisattvas. Standing 3 m high inside each recess of the gate, the Benevolent Kings are depicted in traditional fighting postures and wielding vajras. Glaring fiercely at passersby and displaying their powerful muscles, the figures stand bare-chested, with snub noses and tightly clenched mouths—the sinister looking postures intended to scare away evil spirits from the temple. There is also a statue of the Bodhisattva Samantabhadra on the left side of the gate and Manjusri on the right side. They are manifested as young boys with bright white faces, their hair tied in twin topknots. Samantabhadra is riding a white elephant, a Buddhist symbol of wisdom, and wearing robes of blue with a red belt. Manjusri is seated on the back of a lion, representing courage, and is wearing robes of red with a white belt. The gate is three bays wide and two deep, and the roof is hipped and gabled.

Inside Cheonwangmun Gate (天王門, Gate of the Heavenly Kings) has clay statues of the Four Heavenly Kings. They glare ferociously from the recesses of the gate at passersby and serve as guardians against any evil spirits that might penetrate the temple. Each figure is 3.8 m high and wearing an elaborate crown and suit of armor. On the right side, Dhṛtarāṣṭra is holding a bipa, while Virūḍhaka has a sword in his left hand and a tightly clenched right fist. On the left side, Vaiśravaṇa is holding a lion in his left hand and a spear in his right, while Virūpākṣa is wielding a cintamani in his left hand and a dragon in his right. The gate has a gabled roof with bracketed eaves and measures three bays by three.

Cultural artifacts
The oldest stone artifacts at Hwaeomsa date to the Unified Silla period or early Goryeo and have been designated either National Treasures or Treasures of South Korea. Following the 17th-century reconstruction of the temple, new altar statues and paintings were created which are likewise considered artistically significant examples of Buddhist art, as are many of the stupas and other monuments to renowned monks that have been erected over the centuries.

Three-story pagoda
Situated in a clearing called Hyodae (孝臺, Terrace of Filial Piety) that overlooks Gakhwangjeon Hall, the three-story pagoda has been designated National Treasure 35, a masterpiece of the non-typical style as well as the finest lion pagoda in Korea. It is 6.7 m high and composed of a two-tiered platform, a three-storied body, and a finial. The lower platform is decorated with relief imagery of apsaras playing musical instruments or dancing. The upper platform is an open space, at the center of which stands the statue of a monk, hands clasped together. At each corner of the upper platform is a statue of a lion standing erect on a lotus pedestal, collectively supporting the capstone and body of the pagoda above. Each body and roof stone is made from a single piece of granite. A door frame with lock and handle is carved on each side of the larger first floor and guarded on both sides by a pair of Buddhist deities. The eaves of the roof stones curl up at the corners, with five eave corbels cut into the undersides. The finial is composed of a square block, or dew basin, atop of which sits an inverted hemisphere and a lotus-bud shaped ornament at the peak representing a sacred jewel. An octagonal stone lantern facing the pagoda contains the statue of a monk kneeling on his right knee with an offering cup in the left hand. The statue inside the pagoda has traditionally been thought to depict the mother of Yeongi, who is being worshiped by Yeongi himself in the stone lantern. The pagoda's provenience is unclear; according to the Hwaeomsa Chronicle it was built by Jajang, but most modern estimates place its date of construction in the mid-8th century.

Stone lantern
At a height of 6.2 m, the stone lantern in front of Gakhwangjeon Hall is the largest in South Korea. Almost perfectly preserved, it was probably built in the 9th century to match the scale of Jangyukjeon Hall, and is now National Treasure 12. It is composed of a three part base (lower base, shaft and platform), a light box and a finial. The lower base rests on slab stones, each of which has two relief panels carved onto the sides. Above this, eight lotus petals gracefully droop downward along the sides of the lower base with stems forming at the bottom that rise skyward, appearing as if flowers were sprouting out from the lantern itself, giving it vitality and beauty. A pedestal at the top of the lower base which supports the shaft is decorated in a motif of clouds which appear to be dispelling in the sky. The sturdy shape of the shaft supporting the upper body is characteristic of the most sophisticated stone lanterns of the late Unified Silla period. The top and bottom are octagonal, while the rounded center bows outwards like a barrel drum and is decorated with a floral band across its middle. The underside of the octagonal platform displays a lotus motif similar to that of the lower base, creating a symmetry between the two ends. Four windows are cut into the octagonal light box. The roof stone is broad, giving protection from the wind and rain to the lower structure, while decorative flowers sprout out prominently from the corners. The finial is composed of a dew basin with lotus petal relief, followed by a floral wheel and a jeweled disk, protected from above by an octagonal canopy ornamented with smaller stone flowers sprouting from its corners, and completed with a lotus bud shaped sacred jewel.

East and West Pagodas
The East Pagoda and West Pagoda are aligned such that from the entrance to the courtyard the former appears to stand in front of Daeungjeon Hall and the later in front of Gakhwangjeon Hall. Although commonly mistaken as a matching pair, the two were probably constructed separately and in notably different styles. The East Pagoda is 6 m in height and composed of a single-tiered platform, a five-story body, and a finial. The height of each story shrinks sharply from the bottom floor to the top, while the body and roof stones are each made from single pieces of stone. The eaves of the roof stones curl up at the corners and four eave corbels can be seen underneath. The simple finial is made up of a sacred pearl atop an inverted hemisphere and a dew basin. The West Pagoda is 6.8 m high and similar in structure but it has a two-tiered platform, five eave corbels, and the finial consists of a dew basin and sacred pearl only. There is also extensive Buddhist imagery carved in relief on its surfaces. The Twelve Spirit Generals are represented on square panels along the lower tier of the platform while the eight dharma protectors are depicted on the upper tier, and the Four Heavenly Kings on the first floor of the body. The East and West pagodas were likely erected during the 9th century and have been designated Treasures 132 and 133 respectively. In 1995 the West Pagoda was disassembled for repairs during which time dozens of relics were discovered, including, notably, a bronze Buddha casting which was probably produced in China, also during the 9th century. This was followed up by the discovery of relics in the East Pagoda in 1999. The relics of the West Pagoda have been designated Treasure 1348.

Flower Garland Sutra stone fragments
The thousands of surviving fragments from the engraved stone walls of Jangnyukjeon Hall are registered as Treasure 1040. There are 5,240 relatively large pieces each containing more than ten characters from the Flower Garland Sutra, while a further 176 have over fifty. The walls were made up of hundreds of squares plates that filled the hall, engraved in the standard script style of the Tang scholar Ouyang Xun. The calligraphy is uniform throughout the text, indicating it was engraved in its entirety within a relatively short span of time. The varying shades of brown, pink, or gray on the surviving pieces are a result of discoloration likely caused by fire damage. Relief imagery found on the surface suggest the stone plates also included pictorial depictions alongside the scripture passages. Initially, the stone sutra fragments were not well preserved, as they remained exposed on the ground for more than a century following the destruction of Jangnyukjeon Hall. They continued to be kept outside even after the construction of Gakhwangjeon Hall until the colonial-era when abbot Jineung oversaw the systematic classification and sorting of the fragments. However, the storage boxes keeping them were damaged during the Korean War, once again leaving the fragments exposed until 1961, when more serious effort was finally made to ensure their preservation.

Four-lion pagoda
The four-lion pagoda in front of Wontongjeon Hall is commonly called the Hwaeomsa Pillar. It is 3.4 m high and has a two-tiered platform, a single-story body, and no finial. The platform's lower tier is a square block shaped like a Buddhist altar, atop of which are statues of lions mounted on lotus pedestals at each corner. Their heads support lotus capitals which hold up the capstone and pagoda body. Resting on a large pedestal decorated in lotus relief, the body stone is a rectangular cube, with faint images of guardian deities are depicted in relief on each side and completed by a square roof stone. The pagoda is estimated to date to the 9th century and is registered as Treasure 300.

Gwaebul
The Hwaeomsa gwaebul is a 12 m long ceremonial hanging scroll painting that has been designated National Treasure 301. A masterpiece of the Vulture Peak Assembly motif for its vibrant use of color and its unique composition of attendants, the painting depicts a scene from the Lotus Sutra in which the Buddha Sakyamuni gives a sermon to an assembly of Buddhas, Bodhisattvas and disciples on Vulture Peak, in Rajagrha. Sakyamuni is seated in the lotus position at the center of the painting, surrounded in an aureola, attended on the left by Manjusri and on the right by Samantabhadra. At the bottom of the painting, the Heavenly King Dhṛtarāṣṭra is wielding a sword, while Virūḍhaka is holding a sacred jewel in one hand and a dragon in the other, their large statures making it appear as if they were Buddhas themselves. An altar is between them on which burns incense emitting smoke in the five cardinal colors. Several members of the ten principal disciples and arhats can be seen gathered around the Buddha, and behind them are two pratyekabuddha as well as the Heavenly Kings Vaiśravaṇa and Virūpākṣa, while far in the distance are the Buddhas of the ten directions. The painting was commissioned by Byeogam Gakseong and executed by the monks Jiyeong, Tangye, Dowu, Sasun, Haengchul, and Naheup in 1653.

Hermitages


Among the active hermitages in the hills surrounding Hwaeomsa, the oldest and best preserved is Gucheungam (九層庵, Nine Story Hermitage). Records about the site are scant but according to the Hwaeomsa Chronicle its name refers to a now lost nine story pagoda originally built by Jajang. The style and structure of Cheonbulbojeon Hall, the hermitage's principle hall of worship, indicates it was probably constructed in the late Joseon Dynasty. Inside is enshrined a statue of the Buddha Sakyamuni surrounded by a thousand miniature Buddha statues on the staircase shaped altar that wraps around the hall's interior. Deities originating from Korean folk religion are venerated inside Susaejeon Hall and there are a further two buildings which serve as living quarters for monks. The hermitage's stone lantern probably dates to the 10th century and is almost perfectly preserved in its original condition, unlike the stone pagoda, which, though of similar provenance, laid collapsed on the ground until it was reassembled in 1961 and later designated Jeollanam-do Tangible Heritage 132. Yeongiam (緣起庵, Yeongi Hermitage) is made up of seven buildings; its main hall is Daeungsangjeokgwangjeon Hall, which contains a shrine to the Trikaya of the Buddhas Vairocana, Amitabha and Sakyamuni. Geumjeongam (金井庵, Golden Well Hermitage) was established in 1562 by the monk Seoreung but it was heavily damaged by a fire in 1990 and has since been largely rebuilt. Jijangam is the location of Natural Monument 38, a higna cherry tree, which by tradition, was planted by Byeogam Gakseong. Northeast of the main temple is the hermitage Gilsangam, the location of Natural Monument 485, a Chinese cherry tree. The remaining hermitages include Cheonggyeam, Bongcheonam, Bojeokam, and Mitaam.