Seokguram Grotto
The Smile of Buddha, Keeping Watch for a Thousand Years Seokguram Grotto is the most beautiful work of Buddhist art in all of Korea. The architectural skill of the manmade grotto, the detailed Buddha carvings that fill the grotto walls, and the merciful yet solemn expression of the Bonjonbul, who looks as if he is lost in meditation, make the grotto a remarkable structure that is unmatched worldwide. The minute you set foot inside Seokguram, you will find yourself overwhelmed with admiration for the beauty all around you.
In Korea, there are entire cities that have
been named UNESCO Cultural Heritage Sites. One of these cities is Gyeongju, one
of the world's four major ancient cities. Gyeongju was the royal capital of the
ancient nation of Silla from 57 BC to 935 AD. Even today, many historical
artifacts remain intact from this glorious Buddhist nation. Seokguram is one of
the numerous relics of Gyeongju. Interestingly enough, Seokguram Grotto was
registered apart from Gyeongju as a UNESCO World Heritage, together with
Bulguksa Temple. The entire city of Gyeongju itself is a UNESCO World Cultural
Heritage, so it may seem odd that these two artifacts were singled out and
registered separately. The reason for this is simply because of the immense
historical and artistic value of both Seokguram and Bulguksa.
Seokguram Grotto is located halfway up Gyeongju's Tohamsan Mountain overlooking the East Sea. Seokguram is a rock cave temple that features a grotto made from hewn granite where a delicately sculpted Buddha statue is enshrined. Rock cave temples can also be found in places such as India, Afghanistan, the Middle East, and China. India's Ajanta and Ellora grottoes, and China's Dunhuang and Yungang grottoes in particular are famous worldwide. However, there is a major difference between these rock cave temples and Seokguram: the construction method of the inner stone sanctuary. The rock cave temples in other countries were made by digging out rock from a cliff to make a cave. Seokguram, on the other hand, was built with rocks, one by one, to create a different kind of manmade cave. However, it would be more accurate to say that this is not a cave, but a room made of rocks that looks like a cave. The reason the people of Silla chose such a difficult method for making the stone sanctuary is because of Korea's unique topography. Since much of the land is made of hard granite, drilling into the rock was pretty much impossible. As a result, the chosen method of construction was to use fitted granite to make the cave, placing native rocks on top of the manmade structure and covering it with mud.
Seokguram Grotto is located halfway up Gyeongju's Tohamsan Mountain overlooking the East Sea. Seokguram is a rock cave temple that features a grotto made from hewn granite where a delicately sculpted Buddha statue is enshrined. Rock cave temples can also be found in places such as India, Afghanistan, the Middle East, and China. India's Ajanta and Ellora grottoes, and China's Dunhuang and Yungang grottoes in particular are famous worldwide. However, there is a major difference between these rock cave temples and Seokguram: the construction method of the inner stone sanctuary. The rock cave temples in other countries were made by digging out rock from a cliff to make a cave. Seokguram, on the other hand, was built with rocks, one by one, to create a different kind of manmade cave. However, it would be more accurate to say that this is not a cave, but a room made of rocks that looks like a cave. The reason the people of Silla chose such a difficult method for making the stone sanctuary is because of Korea's unique topography. Since much of the land is made of hard granite, drilling into the rock was pretty much impossible. As a result, the chosen method of construction was to use fitted granite to make the cave, placing native rocks on top of the manmade structure and covering it with mud.
Architectural Structure Symbolizing the Land of Buddha
Seokguram was made in the middle of the 8th century. According
to the 'SamgukYusa', a historical text on Korean ancient history, Seokguram was
established by Silla prime minister Kim Dae-seong (700-774) in honor of his
parents in a past life.
The interior of Seokguram is made up of three sections: the 'jeonsil' (antechamber), the 'tongno' (corridor), and the 'jusil' (main rotunda). The antechamber is square and the main rotunda is circular. People in the olden days believed that the land was square and the heavens were round. This is why in Seokguram the space where the people partook in Buddhist services was made in a square shape, and the space where the Bonjonbul Buddha resided in the celestial heavens was made in a circular shape. These design elements serve as expressions of an Eastern worldview.
As you enter the grotto, the first space you will see is 'jeonsil' (the antechamber). This is where Buddhist services were held, and where one can admire Seokguram’s greatest feature – its realistic and beautiful stonework. Since granite is such a hard rock, it is difficult to use for detailed carvings. As such, the fact that the stonemasons of Silla used chisels and hammers to craft the rock into detailed sculptures is a true testament to their outstanding skill.
The interior of Seokguram is made up of three sections: the 'jeonsil' (antechamber), the 'tongno' (corridor), and the 'jusil' (main rotunda). The antechamber is square and the main rotunda is circular. People in the olden days believed that the land was square and the heavens were round. This is why in Seokguram the space where the people partook in Buddhist services was made in a square shape, and the space where the Bonjonbul Buddha resided in the celestial heavens was made in a circular shape. These design elements serve as expressions of an Eastern worldview.
As you enter the grotto, the first space you will see is 'jeonsil' (the antechamber). This is where Buddhist services were held, and where one can admire Seokguram’s greatest feature – its realistic and beautiful stonework. Since granite is such a hard rock, it is difficult to use for detailed carvings. As such, the fact that the stonemasons of Silla used chisels and hammers to craft the rock into detailed sculptures is a true testament to their outstanding skill.
If you look at the surface of the wall, you
will see the 'Palbusinjung' ('Eight Congregated Gods', a set of guardian
deities), one set of four on each wall. The Palbusinjung were originally gods of
Indian Hinduism. However, the Palbusinjung received enlightenment from
Seokgamoni (the historic Buddha) and converted to Buddhism, becoming the patron
saints of Buddhism. In Korea, the Palbusinjung are not given the names and forms
of a god, but rather take the form of military spirits. On the wall to the left
are Asura, Kinnara, Yaksa, and Nāga; carved on the wall to the right are Garuda,
Mahoraga, Deva, and Gandharva.
To the rear of the Palbusinjung is the entrance of the 'tongno' (corridor), to the right and left of which are two 'geumgangyeoksa' (Vajrapani, guardian deities) who resemble tough-looking warriors. These two figures play the role of main gatekeepers. The upper body of both figures shows defined muscles conveying bravery, while the circular mandorlas (the Buddhist equivalent of a halo) behind their heads are symbols of strength and wisdom. One of the interesting things to note is that the shapes of the gatekeepers' mouths are different from one another. The mouth of the gatekeeper on the left is open in a battle cry, while the one on the right is said to be inhaling through closed lips and preparing for battle. The positions of both the gatekeepers are the same as some of the basic forms of Taekkyeon, serving as further proof of the deep-seated history of this form of martial arts.
On the walls of the tongno connecting the jeonsil and the jusil are the 'Sacheonwang' (the Four Devas), represented in two pairs. The Sacheonwang are one level higher than the world of men, and are said to examine the good and evil deeds of humankind. They were originally spirits of revered kings of ancient India before turning to Buddhism and becoming guardian deities of the Buddhist faith.
After passing through the tongno you will find yourself in the rounded dome of the jusil. In the middle of the room sits a large Buddha, encircled by carvings on the wall. The first carving on the left is Beomcheon; the first carving on the right is Jaeseokcheon. Jaeseokcheon and Beomcheon are the highest of the deities that protect Buddha. They can be compared to the god Zeus that appears in Greek mythology as far as their level of power. The next figures on the left and right are Munsubosal (Manjushri Bodhisattva) and Bohyeonbosal (Samantabhadra Bodhisattva). In Korean Buddhism, Munsubosal is a symbol of wisdom, while Bohyeonbosal represents mercy. To the left and right of Munsubosal and Bohyeonbosal stand ten of Buddha's disciples. The ten disciples were people who received teaching directly from Seokgamoni himself. Since they actually existed in real life, their faces and postures are some of the most detailed of all the carvings and sculptures of Seokguram.
Even though it cannot be seen from outside the glass wall, behind the main statue is the most beautiful bodhisattva carving in Seokguram: the Sipilmyeon Gwaneumbosal, characterized by its eleven faces. On the headpiece of the Gwaneumbosal are 9 small faces, on top of which is another carving of Gwaneumbosal. This bodhisattva is the embodiment of mercy. Its carved faces symbolize the belief that the bodhisattva is able to thoroughly examine the pain of all mankind. It also conveys the idea that the bodhisattva will stretch out its hand and save all who call upon its name in times of trouble.
All around the top of the jusil, face-level with Bonjonbul (the large Buddha statue), are ten small niches (shrine rooms). Inside the niches are 7 statues of bodhisattva and 1 of Yumageosa (Vimalakirti, one of the most famous disciples of Buddha). Two of the shrine rooms are empty. Vimalakirti was not a bodhisattva, but was rather a prince of Vaisali India and a secular follower of Buddha. Given his relatively 'low' status you may wonder why he is placed among the bodhisattvas. This is to show that anyone can enter the land of Buddha if he or she truly lives out his teachings.
To the rear of the Palbusinjung is the entrance of the 'tongno' (corridor), to the right and left of which are two 'geumgangyeoksa' (Vajrapani, guardian deities) who resemble tough-looking warriors. These two figures play the role of main gatekeepers. The upper body of both figures shows defined muscles conveying bravery, while the circular mandorlas (the Buddhist equivalent of a halo) behind their heads are symbols of strength and wisdom. One of the interesting things to note is that the shapes of the gatekeepers' mouths are different from one another. The mouth of the gatekeeper on the left is open in a battle cry, while the one on the right is said to be inhaling through closed lips and preparing for battle. The positions of both the gatekeepers are the same as some of the basic forms of Taekkyeon, serving as further proof of the deep-seated history of this form of martial arts.
On the walls of the tongno connecting the jeonsil and the jusil are the 'Sacheonwang' (the Four Devas), represented in two pairs. The Sacheonwang are one level higher than the world of men, and are said to examine the good and evil deeds of humankind. They were originally spirits of revered kings of ancient India before turning to Buddhism and becoming guardian deities of the Buddhist faith.
After passing through the tongno you will find yourself in the rounded dome of the jusil. In the middle of the room sits a large Buddha, encircled by carvings on the wall. The first carving on the left is Beomcheon; the first carving on the right is Jaeseokcheon. Jaeseokcheon and Beomcheon are the highest of the deities that protect Buddha. They can be compared to the god Zeus that appears in Greek mythology as far as their level of power. The next figures on the left and right are Munsubosal (Manjushri Bodhisattva) and Bohyeonbosal (Samantabhadra Bodhisattva). In Korean Buddhism, Munsubosal is a symbol of wisdom, while Bohyeonbosal represents mercy. To the left and right of Munsubosal and Bohyeonbosal stand ten of Buddha's disciples. The ten disciples were people who received teaching directly from Seokgamoni himself. Since they actually existed in real life, their faces and postures are some of the most detailed of all the carvings and sculptures of Seokguram.
Even though it cannot be seen from outside the glass wall, behind the main statue is the most beautiful bodhisattva carving in Seokguram: the Sipilmyeon Gwaneumbosal, characterized by its eleven faces. On the headpiece of the Gwaneumbosal are 9 small faces, on top of which is another carving of Gwaneumbosal. This bodhisattva is the embodiment of mercy. Its carved faces symbolize the belief that the bodhisattva is able to thoroughly examine the pain of all mankind. It also conveys the idea that the bodhisattva will stretch out its hand and save all who call upon its name in times of trouble.
All around the top of the jusil, face-level with Bonjonbul (the large Buddha statue), are ten small niches (shrine rooms). Inside the niches are 7 statues of bodhisattva and 1 of Yumageosa (Vimalakirti, one of the most famous disciples of Buddha). Two of the shrine rooms are empty. Vimalakirti was not a bodhisattva, but was rather a prince of Vaisali India and a secular follower of Buddha. Given his relatively 'low' status you may wonder why he is placed among the bodhisattvas. This is to show that anyone can enter the land of Buddha if he or she truly lives out his teachings.
Did you know? Who is Kim
Dae-seong?
It is recorded in the 'Samguk Yusa', an ancient Korean
historical text, that Kim Dae-seong began construction of Seokguram Grotto in
751, the same year he established Bulguksa Temple. There are very few historical
records that mention Kim Dae-seong, but plenty of fables. It is said that when
Kim Dae-seong was young, he was so poor that he hired himself out as a lowly
laborer and barely earned enough to support himself. One day, a monk told him
that if he did good deeds, good fortune would soon follow. Hearing this, Kim
Dae-seong gave everything he had to Buddha. Sometime later, Kim Dae-seong died,
but was reborn as the son of the then-prime-minister Kim Mun-ryang. A man of
deep filial piety, the newly reborn Kim Dae-seong brought his mother from his
past life to live with him. Kim Dae-seong, who had grown up in lavish
surroundings in his second life, succeeded Kim Mun-ryang and rose to the
position of prime minister. After he resigned from public office, he built
Bulguksa Temple in honor of his parents in his current life and Seokguram Grotto
in honor of his parents in his past life. Kim Dae-seong worked on the grotto for
24 long years, but died before its completion. After his death, construction of
the grotto was entrusted to the Korean government.
The Solemn and Benevolent Smile of Buddha
The true star of Seokguram is the Bonjonbul (Buddha) sitting in
the jusil. The Buddha, with his narrow eyes and strong sense of dignity, has
exquisitely carved facial features. Yet, despite his overall solemn appearance,
a faint smile plays on his lips, giving the statue a merciful air. The imposing
shoulders, the wide chest, and narrow waist, along with the Buddha's
cross-legged position, makes it seem as if it were a living, breathing thing.
The proportions of the statue are perfect as well. The pedestal on which the
Buddha sits measures 168.4cm in height, while
the statue itself measures 346cm, a 2:1 ratio. Using this ratio to elevate the statue above eye level makes for a natural feeling of dignity. Even though the statue was carved from granite, it is the ultimate expression of art, unmarred by any flaw that might belie its manmade nature.
The hand positioning of the Bonjonbul is known as 'hangmachokjiin'. This Buddhist position was used by Seokgamoni upon being tempted by the devil as he sat on the brink of enlightenment. At that time, he used the gesture to point towards the gods of the earth and defeat the army of the devil. This hand position is only adopted by Seokgamoni. Bonjonbul looks much like the Buddha statue in India’s Bodh Gaya in size and shape. On the spot where Seokgamoni had achieved enlightenment in Bodh Gaya, the Mahabodhi Temple (Great Awakening Temple) was erected. The statue of Buddha at this temple is said to be incredibly similar to the one at Seokguram. In 1939, Japanese civil engineer Yoneda Miyoshi converted the measurements of the Bonjonbul to 'dangcheok' (a reference scale of the Tang Dynasty) and said that the Bonjonbul measured 1 jang, 1 cheok, and 6 chon (approx. 351cm) in height. He went on to say that the width of its knees were 8 cheok and 8 chon (approx. 266cm), and the width of its shoulders were 6 cheok and 2 chon (approx. 188cm). Chinese monk Xuanzang (Samjang Beopsa in Korean) wrote in his book, 'Great Tang Records on the Western Regions' (based on a 17-year pilgrimage across India and the Middle East) that, "The magnificent statue of Buddha (in Bodh Gaya) sits facing east in the middle of the structure with its right foot supported by the left and its
left hand in its lap with its right hand hanging down in the 'hangmain' position (a Buddhist hand position said to force the devil into submission). It seems as if Buddha himself is living in this place. The plinth (base) measures 4 cheok 2 chon (approx. 127cm) and is 1 jang 2 cheok and 5 chon (approx. 378cm) wide. The statue is 1 jang 1 cheok and 5 chon (approx. 348 cm) tall, and the width of the knees measures 8 cheok 8 chon (approx. 266cm), while the width of the shoulders is 6 cheok 2 chon (approx. 188cm)."
The people of Silla did not have much contact with India, which makes the similarities between the two Buddhas even more surprising. The Buddhas at Seokguram and the Mahabodhi Temple are not only similar in size, but also in shape. It is thought that the Bonjonbul is not just another Buddha, but is a version of the Seokgamoni reconstructed on Silla land. The Silla people's belief in Buddha was so profound that they made many Buddhist statues and pagodas in Gyeongju, a place they believed was the holy land of Buddha.
the statue itself measures 346cm, a 2:1 ratio. Using this ratio to elevate the statue above eye level makes for a natural feeling of dignity. Even though the statue was carved from granite, it is the ultimate expression of art, unmarred by any flaw that might belie its manmade nature.
The hand positioning of the Bonjonbul is known as 'hangmachokjiin'. This Buddhist position was used by Seokgamoni upon being tempted by the devil as he sat on the brink of enlightenment. At that time, he used the gesture to point towards the gods of the earth and defeat the army of the devil. This hand position is only adopted by Seokgamoni. Bonjonbul looks much like the Buddha statue in India’s Bodh Gaya in size and shape. On the spot where Seokgamoni had achieved enlightenment in Bodh Gaya, the Mahabodhi Temple (Great Awakening Temple) was erected. The statue of Buddha at this temple is said to be incredibly similar to the one at Seokguram. In 1939, Japanese civil engineer Yoneda Miyoshi converted the measurements of the Bonjonbul to 'dangcheok' (a reference scale of the Tang Dynasty) and said that the Bonjonbul measured 1 jang, 1 cheok, and 6 chon (approx. 351cm) in height. He went on to say that the width of its knees were 8 cheok and 8 chon (approx. 266cm), and the width of its shoulders were 6 cheok and 2 chon (approx. 188cm). Chinese monk Xuanzang (Samjang Beopsa in Korean) wrote in his book, 'Great Tang Records on the Western Regions' (based on a 17-year pilgrimage across India and the Middle East) that, "The magnificent statue of Buddha (in Bodh Gaya) sits facing east in the middle of the structure with its right foot supported by the left and its
left hand in its lap with its right hand hanging down in the 'hangmain' position (a Buddhist hand position said to force the devil into submission). It seems as if Buddha himself is living in this place. The plinth (base) measures 4 cheok 2 chon (approx. 127cm) and is 1 jang 2 cheok and 5 chon (approx. 378cm) wide. The statue is 1 jang 1 cheok and 5 chon (approx. 348 cm) tall, and the width of the knees measures 8 cheok 8 chon (approx. 266cm), while the width of the shoulders is 6 cheok 2 chon (approx. 188cm)."
The people of Silla did not have much contact with India, which makes the similarities between the two Buddhas even more surprising. The Buddhas at Seokguram and the Mahabodhi Temple are not only similar in size, but also in shape. It is thought that the Bonjonbul is not just another Buddha, but is a version of the Seokgamoni reconstructed on Silla land. The Silla people's belief in Buddha was so profound that they made many Buddhist statues and pagodas in Gyeongju, a place they believed was the holy land of Buddha.
Seokguram's Scientific Design
If you look at Bonjonbul, it looks as if it is in the center of
the jusil, when in fact it is located more towards the back. Putting the statue
towards the back not only gives the visitor an added sense of moving forward
into the space, but also makes Seokguram look more aesthetically pleasing from
the outside. If you look at Bonjonbul from the front of Seokguram, you will see
a circular orb behind the head of the Buddha in the shape of a lotus flower.
This is a 'mandorla' (or halo) that is an expression of the mystery and
greatness of Buddha.
Carved on the wall behind the head of the statue, it is placed at an angle that allows it to be seen properly only by those who come to worship Buddha. One of the most interesting things about this mandorla is that it is a little wider than it is long, giving it an elliptical shape. In fact, the mandorla looks different even when viewed from the front, depending on the height of the viewer. To taller viewers, the mandorla looks like it is drooping down towards the floor; to shorter viewers, it looks like it is stretching up towards the ceiling.
So, at what height would the ellipse look perfectly round? According to analysis by architectural scholars, a viewer with an eye-level of 160cm would be able to get a perfectly circular view of the mandorla when looking at the statue head-on. It is believed that this was the standard height of the men of Silla and that the mandorla was designed accordingly for the most dramatic visual effect.
Making the ceiling of the jusil into its characteristic dome shape was no easy task. It would have taken considerable knowledge in the fields of mathematics and geometry to put together flat, square rocks to construct something round. After completion, the ceiling was then covered with stones and mud. This was to allow air to flow naturally in and out of Seokguram to eliminate humidity. However, the rocks and mud placed on top of the ceiling were too heavy for the ceiling to support them. In order to solve this problem, rocks were wedged in between the flat rocks of the dome ceiling. These rocks are known as 'jumeokdol' and were used to give support to the flat rocks of a circular structure and take much of the strain. Altogether, the jumeokdol weigh 20 tons and distribute the weight of the cover stone.
The most problematic issue regarding the interior space of Seokguram is the humidity. If humidity forms, moss can grow on the surface of the rocks and moisture will permeate the area, making it difficult to maintain the integrity of the grotto. In order to avoid this, builders found a method for drawing moisture to the outside: a spring flowing beneath the structure. The Seokguram spring maintains a temperature of 12 degrees Celsius all year round. Since the humidity settles down towards the floor (kept at a lower temperature, thanks to the spring), moisture does not collect on the Bonjonbul or other carvings near the top. The spring and its climate control functions are a prime example of the scientific thought that went into the construction of Seokguram.
Carved on the wall behind the head of the statue, it is placed at an angle that allows it to be seen properly only by those who come to worship Buddha. One of the most interesting things about this mandorla is that it is a little wider than it is long, giving it an elliptical shape. In fact, the mandorla looks different even when viewed from the front, depending on the height of the viewer. To taller viewers, the mandorla looks like it is drooping down towards the floor; to shorter viewers, it looks like it is stretching up towards the ceiling.
So, at what height would the ellipse look perfectly round? According to analysis by architectural scholars, a viewer with an eye-level of 160cm would be able to get a perfectly circular view of the mandorla when looking at the statue head-on. It is believed that this was the standard height of the men of Silla and that the mandorla was designed accordingly for the most dramatic visual effect.
Making the ceiling of the jusil into its characteristic dome shape was no easy task. It would have taken considerable knowledge in the fields of mathematics and geometry to put together flat, square rocks to construct something round. After completion, the ceiling was then covered with stones and mud. This was to allow air to flow naturally in and out of Seokguram to eliminate humidity. However, the rocks and mud placed on top of the ceiling were too heavy for the ceiling to support them. In order to solve this problem, rocks were wedged in between the flat rocks of the dome ceiling. These rocks are known as 'jumeokdol' and were used to give support to the flat rocks of a circular structure and take much of the strain. Altogether, the jumeokdol weigh 20 tons and distribute the weight of the cover stone.
The most problematic issue regarding the interior space of Seokguram is the humidity. If humidity forms, moss can grow on the surface of the rocks and moisture will permeate the area, making it difficult to maintain the integrity of the grotto. In order to avoid this, builders found a method for drawing moisture to the outside: a spring flowing beneath the structure. The Seokguram spring maintains a temperature of 12 degrees Celsius all year round. Since the humidity settles down towards the floor (kept at a lower temperature, thanks to the spring), moisture does not collect on the Bonjonbul or other carvings near the top. The spring and its climate control functions are a prime example of the scientific thought that went into the construction of Seokguram.
Must See Silla History & Science
Museum
The Silla History & Science Museum gives visitors a good
look at the interior of the grotto, which cannot be seen at Seokguram Grotto
itself. Through a model of the construction of Seokguram Grotto and a variety of
other materials, visitors will be able to understand the hidden mysteries of
Seokguram Grotto. The model was constructed, in part, to help in topics of
debate among scholars, such as whether or not there was a skylight or
ventilation portion of the gamsil (alcove) of Seokguram. In addition to this,
the museum also has on display models of representative Korean cultural
heritages such as the golden crown of Silla, the golden crown of Baekje, the
Haeinsa Temple Janggyeongpanjeon, Cheomseongdae, and more.
201 Ha-dong, Gyeongju-si, Gyeongsangbuk-do
054-745-4998 09:00-18:00 (Mar-Oct)
09:00-17:30 (Nov-Feb) *Open all year round
Adults 3,000 won Students 2,000 won
www.sasm.or.kr (KR)
Did you know? The Faulty Restorations
of Seokguram Grotto
Seokguram maintained its original form without any major changes
up until the beginning of the18th century. During the Japanese colonial rule,
Seokguram was discovered by a Japanese postmanand was put through 3 rounds of
full-scale restorations. The first round of restorations was conducted from 1913
to 1915. Under the leadership of Japanese architectural scholar Tei Sekino,
Seokguram was completely disassembled and reassembled. At this time, the mistake
was made of putting concrete measuring 1m thick around the outside of the dome
portion of Seokguram. This was done for preservation purposes with the thought
that the concrete would make the structure stronger. When the grotto was being
rebuilt, more than 200 stones were added to the existing stones, further
damaging the grotto.
The errors committed during these two years of renovation soon took their toll, and Seokguram started to collect moisture. In 1917, during the second round of renovations, the concrete surface of the grotto was covered with lime mortar and clay, and the ceiling was installed with a drainage pipe to try to get the water out. The results of the second round of construction were also far from good. From 1920 to 1923, the third round of renovations was executed, during which the mud covering Seokguram was scraped off and waterproof asphalt was added on top of the concrete. Drainage work began to take the spring water outside of the grotto. However, even the third round of construction efforts could not solve Seokguram's humidity problem.
After the nation was liberated from under Japanese colonial rule, the Korean government headed up construction efforts (from 1962 to 1964) to solve the moisture problems in Seokguram, leaving the concrete covering Seokguram at intervals of 120cm and making a new dome. During the colonial period, Japan moved two of the eight Palbushinjung statues in Seokguram, Asura and Garura, to face the Deva king. The two misplaced statues were brought back to their original positions where the four statues from Palbushinjung symmetrically align next to the Deva king. Construction efforts also included the installment of moisture proofing facilities and an underground drainage system. Despite all this, builders were unable to stop the moisture and water from leaking into the grotto. In 1966, an air handling unit was installed, allowing air to artificially be drawn in and out of the dome. In 1971, the glass partition was installed as a means of preventing tourists from entering the inner sanctuary of the grotto.
The errors committed during these two years of renovation soon took their toll, and Seokguram started to collect moisture. In 1917, during the second round of renovations, the concrete surface of the grotto was covered with lime mortar and clay, and the ceiling was installed with a drainage pipe to try to get the water out. The results of the second round of construction were also far from good. From 1920 to 1923, the third round of renovations was executed, during which the mud covering Seokguram was scraped off and waterproof asphalt was added on top of the concrete. Drainage work began to take the spring water outside of the grotto. However, even the third round of construction efforts could not solve Seokguram's humidity problem.
After the nation was liberated from under Japanese colonial rule, the Korean government headed up construction efforts (from 1962 to 1964) to solve the moisture problems in Seokguram, leaving the concrete covering Seokguram at intervals of 120cm and making a new dome. During the colonial period, Japan moved two of the eight Palbushinjung statues in Seokguram, Asura and Garura, to face the Deva king. The two misplaced statues were brought back to their original positions where the four statues from Palbushinjung symmetrically align next to the Deva king. Construction efforts also included the installment of moisture proofing facilities and an underground drainage system. Despite all this, builders were unable to stop the moisture and water from leaking into the grotto. In 1966, an air handling unit was installed, allowing air to artificially be drawn in and out of the dome. In 1971, the glass partition was installed as a means of preventing tourists from entering the inner sanctuary of the grotto.
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