At another gate, farther up the trail, one is almost sure to find the Maharajas, heavenly kings of the cardinal points, under shelter, each in a niche or alcove; usually there are two on either side as one passes through the gate.[8] Being related to the cardinal points, they are always arranged in the same order, and are distinguished from each other by having different colored faces, each having the color proper to the district over which he has control. ([Plate XXa], b.) Each carries a characteristic object, thus one bears a pagoda or tower on his hand, another carries a blazing jewel, the third varies what he carries, but frequently he plays upon a lute, the fourth one has a sword; these four great Brahman deities are found to-day in Korea at every Buddhist monastery, at the gate commonly called “the gate of the four kings”; there they watch, guarding the monastery against all harm. These are almost always figures of wood, but rarely one may find paintings on the wooden walls instead of the figures. While these guardian kings are always represented in heroic size the series at Pawpchu-sa are of extraordinary dimensions, probably the largest in Korea. ([Plate XXI].)
Yama, too, was taken over from the older faith. The god of hell, he was assisted by ten helpers; each of these served as his representative in a separate hell, or division of that place of torment. Yama judges souls and inflicts penalties, assigns duties, and directs all the details of his realm. In most Korean monasteries there will be a hall of the ten kings in which we see figures of Yama with his assistants.
PLATE XXIX
Hall of Five Hundred Rakan: Sukwang-sa [Page 90]
Next we may consider architecture. We place it fourth because we have pursued a logical order of approach. Coming through the beautiful scenery, we have passed over the trail, noticing the inscriptions on the cliffs, passing by the guardians of the outer gate, walking between the four kings on their ceaseless guard, but at last have come to the monastery buildings proper and see them in their age and beauty before us. We have already seen representations of many of these temples in the preceding lectures. You have noticed that all were built of wood; you have observed the curious mode of timbering; you have studied the tangle of projecting timber ends under the roof—the decorative features applied to them, the carving and painting; red, green, black, white and blue, the gaudiest of colors are used upon them in a fashion which we could not conceive, and from which we would expect disharmony, though the real effect is charming. You have examined in detail the carved decoration of the doors, sometimes foliage, again floral, or with figures mingled with the other designs. ([Plate XVIII].)
While the buildings themselves are always of wood there is a curious use made of stone at times in the way of supports. You remember in a picture from Sukwang-sa this was illustrated. The building was in the nature of a pavilion where tablets bearing names were left by visitors; the pavilion was borne upon upright columns of stone, highly characteristic of Korea, but not common elsewhere.
Another feature of the architecture is wall-painting and here we find two different kinds. Pictures may be painted directly upon the woodwork of the wall. It is more common, however, to panel the timbered walls with plastering and then to paint upon the plaster. Let us examine examples of both kinds.
You remember that among the Buddhist books recently printed in on-mun was an allegory by a Chinese monk. The writer’s name was Chiu-Chang-Chun; he was born in 1208 and died in 1288. His book was named Sei-yeu-ki; at Pongeum-sa, a scene taken from his book is painted on the wooden wall. We present it as an example of this kind of decoration. It represents a scene from the closing part of the old story. ([Plate XXII].)
PLATE XXX
Extraordinary combinations of Rakan figures: Hall of Five Hundred Rakan: Songkwang-sa [Page 90]