The pilgrims had almost finished their journey and were returning in state, on cherubim, with a great collection of idols and sacred texts. It was found, however, that they had suffered only eighty trials, and it seems that to be perfect they should pass through eighty-one—nine times nine—so angels were sent to overtake the eight cherubim, and tell them privately that they must let the monks suffer one trial more. This the angels did. As a sample of the story, and in explanation of the picture we quote from Dr. Richard’s translation.
“It was a strange sensation to be on the ground again. They had come down near some water. The master asked, ‘Can anyone tell me where we are?’
The monkey said, ‘Master, this is the mouth of the Milky Way River.’ The river was wide. It was also a lonely place, without houses or boats, and they were on the western side. How could they get across? Two of them suggested that since the master had left his mortal body behind they could cross the river by magic, but the monkey said, ‘No, it cannot be done.’ He knew that there was one trial more to undergo, and it was for this they had stopped on the way. Then they heard a cry, ‘Chinese priest, come this way.’ They went and found that it was the white tortoise, who had ferried them over as they went West, at the time when they had saved the family at Chen Kia Chwang. The tortoise said he had been waiting for their return for a long time and was glad to see them. The practical monkey said, ‘Formerly we had to trouble you. Now we meet again.’
At this the four pilgrims were very rejoiced to see the tortoise. He took them and the horse all on his back and swam across to the other side. As they neared the Eastern shore and it was getting dark, the tortoise said, ‘Master, when you went West I asked you to inquire of Buddha for me how I might return to my former state, and when I might get a human body. Did you remember to ask?’ But the master had been so absorbed in his own affairs that he had completely forgotten the tortoise and his request and so he had nothing to say. The tortoise, finding that he had been forgotten, turned a somersault, and threw all and everything into the river. Happily the mortal body of the master had been exchanged for an immortal one, and therefore he was safe in the water. The pig and the monkey, the boy and the horse, were also at home in the water, but the books were all soaked.”
PLATE XXXI
Painting of the Seven Stars: Sukwang-sa [Page 92]
The old allegory took a strong hold upon Eastern Asia and there must have been hundreds of pictures painted in the course of time representing its incidents.
As an example of the wall-paintings on plaster we may study a group of paintings, each representing an individual being, from one of the main temples at Sukwang-sa. None of these figures is haphazard, or without significance. Each would be recognized by the well-informed Buddhist. ([Plate XXIII].)
Fifth are the idols or images. In the Buddhism taught by Sakya there was no room for them. The Great Teacher recognized no gods, and his followers should have no representations of deities. In Amida Buddhism, however, there are many gods, and a multitude of figures. The Buddhas, themselves are all represented among them including Sakya. When we examine the figures worshipped in Buddhist temples we find three groups, (a) Buddhas, (b) Bodhisattvas, (c) Arhats or Rakan. Sakya was not the first Buddha; in fact he was the twenty-fourth or twenty-fifth in the line of those who attained enlightenment and gained Nirvana. The Indians reckoned time in long periods or kalpas; most of the Buddhas were in former kalpas, but even in the present kalpa, in which we live, Buddha had three predecessors; and before our kalpa ends a successor will appear, Maitreya, or Miroku, the coming Buddha.[9]
The two Buddhas most commonly represented by figures in Korean Buddhism are Sakya and Amida. Miroku, too, is frequently to be seen, but Miroku is not yet a Buddha but only Bodhisattva.
Bodhisattvas were human beings who had piled up karma and passed from stage to stage until they stood within a single step of Buddha-hood; during their next existence they could hope for illumination, enlightenment, Nirvana. There are many Bodhisattvas, but the ones most commonly represented by Korean figures are six in number. Their Korean names are Miryek Posal, Titsang Posal, Kwandyeieun Posal, Taiseichi Posal, Mounsou Posal, and Pohien Posal. These Bodhisattvas are much better known to the outside world by their Japanese names, and having introduced them in Korean terminology we shall refer to them as we have opportunity under the Japanese forms.
