PLATE XXXII
Group Painting: Sukwang-sa [Page 95]
They become, then, Maitreya or Miroku, Jizo, Kwannon, Daiseishi, Monju, Fugen. Curiously enough in Korean iconography Jizo, a most mild and gentle god, fond of and loved by children, replaces Yama often as the king of hell. Kwannon, god of mercy, usually considered female in Japan, though not invariably, is usually male in Korean representation.
The third type of images of figures worshipped in Korean monasteries are the Arhats or Rakan. These are men who have made progress; they have meditated, studied, listened and thought; some of them are the original students of Sakya; all have gained a store of helpful karma, and many of them are worshipped. When made in figures there are two groups of Rakan. One known as the sixteen Rakan, the other as the five hundred. The sixteen Rakan are all absolutely historical personages of early date, friends, relatives, and hearers, of Sakya. In figures and in paintings they are represented with characteristic attributes, readily recognized.
These three kinds of figures are usually made of wood, painted and gilded; sometimes the gold leaf on them represents absolutely considerable value. The figures of the Buddhas and Bodhisattvas are frequently of large size, and often beautiful. They may be standing or seated, but in both cases the position of the hands and fingers is important and significant. ([Plate XXIV].) Buddhism everywhere recognizes a series of finger symbols carrying a message. It is interesting to notice that the Buddha is usually included in a trinity. This fact is among many which have led some writers like Professor Lloyd, Doctor Richard, and Madame Gordon to think that Mahayana Buddhism is actually Christianity worked over and given the name of Buddhism.
PLATE XXXIII
One of the Eight Scenes in the Life of Buddha: Sakya gains Enlightenment: Pomo-sa [Page 91]
Trinities are conspicuous everywhere. Often we find the central figure of the three to be Sakya, while to his right and left are the Bodhisattvas Monju and Fugen. The former sometimes sits upon a dog or lion, and the latter upon a white elephant. Then they are easily recognized by their mount. When not mounted they are not so easy of recognition. Even more common in Korea is the Amida trinity. Amida is usually accompanied by Kwannon on one side and Daiseishi on the other. ([Plate XXV].) There are other trinities to be seen in Korean temples but these two are common. ([Plate XXVI].)
These figures are generally in curious relation with paintings. In most temples where there are figures on the altar there are paintings hung up on the wall behind which usually represent the same beings as the figures, but accompanied by many more attendants. This association of pictures and figures representing the same being is rare, if it occurs, in Japanese Buddhism. ([Plate XXVII].)
Lastly, we come to paintings. While many are related to figures as just mentioned, many more stand by themselves and are displayed upon the walls of halls and temples without figures. If we desire to make a study of the paintings of a monastery we must pass from hall to hall. Many monasteries are absolute masses of great buildings. In the main temple there are usually figures of a trinity of Buddhas or sometimes even three trinities with paintings hung behind. In the Rakan hall we may find the sixteen Rakan in figures, in paintings, or in combinations. In halls of the five hundred Rakan, we usually find five hundred little figures set on shelves thickly around all three sides; no two are just alike, and it is probable that you will be told with glee that if you look long enough you will find your own father represented among them. (Plates [XXIX], [XXX].) In the hall of the Ten Kings of Hell we sometimes find the figures of Yama or of Jizo with the ten helpers; if so, behind the figures are frightful paintings of the ten hells, a picture of each one behind its proper king. Sometimes, however, there are only paintings in this hall. ([Plate XXVIII].) At some temples there is the hall of the Eight Scenes of the Life of Buddha.[10] These scenes are definite and fixed in every detail, are traditional, and have been passed down for centuries. The whole building is occupied by the eight great paintings hung upon the wall. Each contains a mass of detail, and there may be hundreds of individuals represented in a single scene. ([Plate XXXIII].) Occasionally there is a hall of portraits at a monastery; such a one we saw at the monastery where we rebuked the priests for avarice and impoliteness; the building is devoted to the portraits which are said to be reliable representations of the head priests of this monastery for a period of almost fifteen hundred years. One might, however, visit many monasteries without finding such a hall.
