The second form of art is sculpture in stone. We have already mentioned the formulæ and other inscriptions cut upon the cliffs. To the Oriental eye they are as beautiful and represent as much artistic skill as figures would. There are, however, also on the natural rock faces, designs and figures cut in low relief, which we find in the most unexpected places. In the Inner Kongo there are many great representations of the Buddhas cut upon the vertical rock face. Here, for instance, are three figures, twenty feet in height, one of the great Buddhist trinities. Again, there is a representation of Monju, of even greater size. ([Plate XIV].) On another face of rocks are the figures of the famous fifty-three Buddhas who came so long ago to live and die among the Diamond Mountains.
PLATE XXIV
Great figures of Buddhist Trinity, seated: Pawpchu-sa. Sakya, Monju, Fugen [Page 88]
In a former lecture we referred to the cave chapel of Sukkul-am. It is full of beauty. Excavated in the slope near a great ridge summit, it looks out upon the Eastern Sea. In the old days it was approached by a fine flight of steps. From its summit a passageway led to the subterranean chamber. It was bordered on both sides by slabs carved with figures in high relief. Here are the two guardian demons, the four kings of the cardinal points, the six generals. Passing between them we reach the little circular chapel, about thirty feet across, subterraneously situated in the hillside. Its low, vaulted roof is an ingenious and wonderful construction. The surrounding walls are filled with slabs bearing fine carvings. Here are three splendid figures of Bodhisattvas, with boat-shaped haloes, three other figures of Bodhisattvas with round haloes, and distributed between them the ten first disciples of the Great Teacher. These ten figures present marvellous detail of feature; not only personal differences, but race differences are sharply brought out; more than that the figures were originally colored, and no doubt, different races are indicated by the different tints. There is no question that individuals of different races were among the first disciples of the Buddha. And in the center of all this beauty, this flowering of ancient art, sits the stone Buddha, on his lotus pedestal. It is a monolith, cut from a block of stone about eleven feet in height. It is beautiful in pose, in feature, and in expression. For almost fifteen hundred years it has sat there calmly looking out upon the Eastern Sea. Every morning it is greeted by the rising sun.
Besides figures cut in high relief, the old artists made full sculptures in the round. Such, of course, was the Buddha figure, just described. Such are the great miriok, sculptured from natural rock pinnacles, like the one at Eunjin. You may remember the picture of a giant lotus pedestal, lying in the courtyard of Kumsan-sa (Plates [V], [VI]), which we showed you in the first lecture; it is at least a thousand years of age. In the same courtyard, you remember that we saw a little tower or pagoda of stone, thirteen stories high, but in reality no taller than a man. At Pawpchu-sa there is that splendid bowl of stone, more than twelve hundred years of age, which in its time, no doubt, was filled with pure water for the cleansing of the hands and mouth of worshippers. Sometimes we find stone lanterns and occasionally these are supported by animal figures in caryatid forms. Then there are the sari stones and altars and turtle-borne monuments.
PLATE XXV
Great figures of Buddhist Trinity, standing: Kumsan-sa. Amida, Kwannon, Daiseishi
(Thirty feet or so in height) [Page 89]
Look at this series of pictures from Hoiam-sa, one of the first temples we visited in 1917. ([Plate XV].) To-day it is a place of no significance, but it was once a great religious center and has been associated with three famous men. It chanced the day we visited it that the three monks who live there were about to celebrate the day sacred to the memory of these noted teachers; gifts and offerings and all the paraphernalia for worship were laid out, ready. These three men were Muhak, Chikong and Nanong. Chikong was a native of India, who spent his last days in Korea. Nanong was chaplain and preceptor of King Kong-Min-Oang, the last king of the Koryu dynasty. Muhak was the chaplain and preceptor of Yi-tajo, founder of the Yi Dynasty. Behind the monastery building there rises a remarkable narrow-backed and sloping ridge. It bears a line of monuments reared to the memory of these three men. The stones commemorating Chikong and Nanong were erected by Muhak in the year 1393; the stones in memory of him were reared in 1401. The monument to each of these worthies consists of four stone objects—a lantern, an altar, a sari stone—which I suppose contains the jewel that was left after the burning of the man in whose honor it was reared—and a stone turtle figure from whose back rises a slab bearing a long inscription. These turtle-stones with inscribed slabs are found everywhere in Korea; the turtle is the symbol of longevity and its use in this connection breathes the wish that the memory of the thing recorded may endure ten thousand years. These monuments are typical and good examples of their class. The carving on Muhak’s sari stone is particularly beautiful.
In connection with stone work we must remind you again of the towers or pagodas of which you have seen repeated illustrations. Here we show but one to refresh your memory. ([Plate XVI].) Such towers or pagodas rise in stories, numbering from three to thirteen, but always odd—three, five, seven, thirteen. There are hundreds of them scattered over the peninsula and at all the old monasteries you will find them. Some of those in the monasteries of the Diamond Mountains claim to be fifteen hundred years of age or more. They are symbolical, variously; they may denote the life of the individual, pointing heavenward, developing from one stage of perfection to another; they may mean the body of the faithful, or the church; the simple three-story towers symbolize earth, sky and heaven.
