An approach on foot
Most Korean mountain temples are not entered directly. The visitor walks in along a path, often beside a stream, passing through a sequence of gates before reaching the main courtyard. This gradual approach is part of the design. It is a way of leaving ordinary concerns behind before coming to the centre of the temple.
The pattern described here is typical, not universal. Individual temples have different plans because of the shape of the land, their history and the loss and rebuilding of halls. Many were burned in wars and rebuilt, and the plan seen today may differ from the original. The general ideas of Buddhist architecture and sacred architecture are shared across Asia, but Korean temples have their own forms.
The gates
A set of gates usually marks the entrance:
- Iljumun, the “one-pillar gate”. Often the first gate, it has a single row of pillars, and it marks the boundary of the temple’s sacred ground. The idea expressed is of focusing the mind on one thing.
- The gate of the guardians (Geumgangmun or Vajra Gate). Two powerful figures stand on either side, one with an open mouth and one with a closed mouth. They are fierce in appearance and are understood to protect the Dharma. This type of figure is common across East Asia, as the discussion of temple guardian figures shows.
- The gate of the Heavenly Kings (Cheonwangmun). Four colourful guardian kings, one for each direction, stand in this gate. Each holds an attribute such as a sword, a lute, a pagoda or a dragon-pearl. They keep watch over the four directions and over the world.
- The gate of liberation (Haetalmun or Bulimun). In many temples, a last gate points to non-duality and to freedom from worldly attachments. It may be a simple entrance or may be combined with a bell pavilion.
Not every temple has all of them. Some have only one gate, while some combine two.
The bell pavilion and the courtyard
Near the main courtyard stands the bell pavilion (beomjonggak), which holds the drum, wooden fish, cloud gong and bell used at the start and end of the day, as described in the article on Korean temple dawn rituals. Beyond lies the main courtyard, where a stone pagoda or a pair of pagodas often stands in front of the principal hall. Stone lanterns, a flag pole and sometimes a pavilion for assembling are also found here. Many pagodas are stone, in contrast to the wooden and brick pagodas more common in other countries, and the development of the East Asian pagoda explains how the form travelled.
The main hall and other halls
The central building is usually the Daeungjeon, the “Hall of the Great Hero”, dedicated to Shakyamuni Buddha, often with two attendant figures. Its roof is large, its eaves are painted in bright patterns called dancheong, and its interior contains an altar with a principal image, murals and hanging paintings. Other halls are devoted to different figures, for example:
- Geungnakjeon or Muryangsujeon, for Amitabha, associated with the Pure Land.
- Birojeon, for Vairocana, the Buddha of cosmic illumination.
- Yaksajeon, for the Medicine Buddha.
- Gwaneumjeon, for Avalokiteshvara, known in Korea as Gwanseeum.
- Jijangjeon or Myeongbujeon, for Ksitigarbha (Jijang), who is vowed to help beings in the underworld, often with figures of the ten kings.
A temple may have only a few of these. Which are present depends on its history and the devotions of its community. Other buildings include a lecture hall for study, a Seon hall for meditation, a dining hall, kitchens and dormitories for the monks and nuns, and sometimes a separate section for nuns’ quarters.
The shrines on the hillside
Behind or above the main buildings are small shrines that reflect Korea’s older religious heritage as it merged with Buddhism over the centuries:
- Sansingak, the mountain spirit shrine. It is dedicated to the mountain spirit (Sansin), who is often shown as an elderly man, frequently with a tiger. This reflects long-standing local reverence for mountains, which the discussion of mountain deities in other regions also touches on. It is a good example of how Buddhism incorporated existing beliefs.
- Dokseonggak. Dedicated to a solitary hermit figure, Dokseong, who is often identified with an arhat or a meditating saint.
- Chilseonggak. A shrine of the Seven Stars, which draws on star and Daoist-influenced traditions. The Great Bear (Big Dipper) is often depicted.
- Samseonggak. A “three sages” shrine that may combine some of these figures in one building.
These shrines are normally small, and visitors may offer a respectful bow, though doing so is a personal choice. Customs for offerings vary by temple. A temple may place a notice explaining what is appropriate.
Reading the plan
As a rule of thumb, the main axis runs from the entrance to the principal hall, with the community’s living areas at the sides and the smaller shrines set higher up. Movement through the compound follows an ascent in both senses. Do not treat this description as a map for any particular temple. Signs at the site, a temple’s own leaflet or a guide from the community are better sources, and they help visitors avoid walking through areas that are private.
When visiting, remember that the halls are places of worship and that parts of the grounds are the residence of the monastic community. Remove shoes before entering a hall, dress modestly, avoid pointing your feet toward images and ask before photographing. Practice varies, so follow local guidance.