Korean Martial Art and Sports - Taekwondo & Taekkyeon

1. Taekwondo Taekwondo is a martial art form and sport that uses the hands and feet for attack and defense. The focus of Taekwondo is on training and disciplining the mind along with the body. For those learning the martial art it plays four different roles. First, Taekwondo as an Exercise Taekwondo is a good exercise for children who are still growing as well as a good way for grown-ups to increase their physical endurance. Taekwondo's movements require extensive use of the joints, which increases the limberness of one's body. Since there are kicking, jabbing and shouting involved, it's also a great way to relieve stress and get a good workout.

Second, Taekwondo as a Bare Handed Martial Arts Form Taekwondo learners attack the opponent with their bare hands and feet. What sets this apart from other martial arts forms are the powerful and various leg movements involved, and which have enabled it to become a worldwide martial art. Taekwondo's attack is aggressive, but at the same time the focus is more on the defense aspect. This can act positively for those wanting to learn Taekwondo as a way of self defense for practical purposes, even in modern times.

Third, Taekwondo as a Sport Taekwondo is an official competitive category in major world sporting events such as the Olympics, Panam Games, Asian Games, All American Games, and South American Games. Competitive Taekwondo involves safety gear and set attacks and defenses as to limit the amount of damage possible. This way, competitive martial artists can enjoy the thrill of competing with less risk.

Fourth, Taekwondo as an Educational Method Taekwondo trains the body, but does as much to develop the mind as well. The objective of learning Taekwondo is to foster growth in both areas in order to become a more mature human being. Taekwondo learners receive repeated etiquette lessons along with the attack and defense skills to build and strengthen their character. 2. Taekkyeon Taekkyeon (The art of kicking and tripping) Together with Taekwondo, Taekkyeon is a well-known traditional martial art in Korea. This method of self-defense includes numerous foot motions and fluid arm movements with the hands unclenched. Unlike other martial arts forms, there is no abrupt kicking or punching. There is more emphasis on low kicks and leg sweeps to make the opponent lose balance and knock him/her to the ground. While some people see certain similarities between Taekkyeon and the motions of Taekwondo and Chinese Kung Fu, the techniques and principles clearly differ. While Taekwondo movements are rather rigid, straight, and restrained, those of Taekkyeon are curved; and while Kung Fu movements are long and stretched, those of Taekkyeon are short and springy. Also, Taekkyeon relies on the pushing strength in the palm of the hand as compared to the use of the fist in Kung Fu. Beneath light and gentle movements reminiscent of a masked dance, lies tremendous strength which can deliver a debilitating blow or even death to an opponent. Nowadays, Taekkyeon is widely used in gymnastics and fitness sports, especially because of the flexibility and spontaneity of the movements. Recently, it has become popular with women because it is less intense than other martial arts. History of Taekkyeon The history of Taekkyeon can be traced back to the ancient tombs of Muyongchong and Samsilchong of the Goguryeo Dynasty. Tomb wall paintings believed to portray Taekkyeon, show figures paired in a combative stance with hands reaching forward. Evidence has been found dating back to the Goguryeo era, when martial art techniques were highly advanced. At that time, a large number of military men practiced Taekkyeon. During the Joseon era, Taekkyeon matches were quite popular, even among the common people. Recently, however, most Taekkyeon masters have died or retired, and there are few left to carry on the tradition. Thus, in 1983, the government designated the martial art as an Important Intangible Cultural Property for its preservation and popularization.   Techniques and Principles of Taekkyeon Taekkyeon relies more on defense than on offense. Fluid, spontaneous movements of the hands, feet, and body move consistently with the muscles. Another notable characteristic is its lyrical, dance-like rhythm, which characterizes it as a highly artistic martial art. A few of the major Taekkyeon techniques include the basic pose wonpum (standing with feet at shoulder width) and its variation pumbalgi, which is a stepping sequence in a triangular motion. The movement involves taking a step and shifting the weight to that step, and then to the previous step; this is done back and forth, side to side. Foot techniques include the following: front kicks with the top of the foot; spinning the body and kicking with the arch of the foot; kicking outside in; jumping and kicking; spinning the body and kicking with both hands on the floor; and slapping the opponent’s face with the sole of the foot. Some hand techniques are: pushing the opponent by the neck; jabbing the opponent with the wrist on his/her chest or neck; pulling the opponent by the leg after getting him/her down on the floor by a kick; striking the opponent's neck using the heel of the hand; and thrusting one’s fingers into the opponent’s eyes. The hwalgaejeotgi technique, which consists of waving both arms to confuse the opponent's vision or pre-empt an attack, and the yelling of ikkeu, eikkeu are also Taekkyeon techniques. Taekkyeon Competition Rules Following amendments in 1991, 1997, and 1998, Taekkyeon match regulations were settled. After paying their respects in the center of the competition area, both contestants must maintain one of his/her feet forward within attacking distance of the opponent. A contestant wins the match if any part of the opponent's body (from the knee up) touches the floor as a result of a legal attack; if he/she kicks the opponent in the face; and if, as a result of his/her kick (both legs must be in the air and higher than knee-length), the opponent loses balance or retreats by more than two steps.     Competition area: The mat-covered area measures 8 x 8 meters. A circle 2.5m in diameter demarcates the center. Composition of refereeing officials: 1 center referee, 2 corner judges, 1 jury, 1 timekeeper. Competition uniform: Contestants must wear white summer uniform pants, cotton-padded socks, and one contestant a blue and the other a white upper garment. Competition classification: There are individual, team, adult, student, and children (children less than 10 years of age) competitions. The competitions are divided by gender, and sometimes by weight divisions. Duration of contest: For individual competitions, there are 3 rounds of 3 minutes each, and 1 minute of rest between rounds. For team competitions, there is 1 round of 3 minutes. There is no time limit in competitions like Cheonha Myeongin (World Master Competition). Methods of competition: Tournament or league system, combined tournament and league system, or round-robin system.

Korea culture : UNESCO World Heritages - Hwaseong Fortress

Hwaseong Fortress

The Tresure of Korean Fortresses Hwaseong Fortress is a Korean masterpiece that boasts both the grandeur of the fortresses of the East, and the beauty and practicality of the fortresses of the West. The most scientifically designed fortress in Korea, the Hwaseong Fortress was built with a number of creative and original attack and defense functions.

Hwaseong Fortress was built over several years from 1794 to 1796. Though the fortress has a relatively short history of only about 220 years, it was still registered as a UNESCO World Heritage Site in 1997. Over the course of the Japanese Colonial Era (1910-1945) and the Korean War (1950- 1953), the fortress sustained extensive damage and was restored to its original form through construction efforts that ran from 1975 to 1979. Considering this recent reconstruction, many question why UNESCO considered Suwon Hwaseong Fortress worthy of its title as an important World Heritage.

Recommended Course

Paldalmun → Seonam Gaknu → Seojangdae → Hwaseomun Gate → Janganmun → Dongjangdae → Dongbuk Gaknu (Banghwasuryujeong) → Janganmun → Hwaseong Haenggung (approx. 2hrs)
* Hwaseong Haenggung → Seojangdae → Hwaseomun → Janganmun → Buksumun (Hwahongmun) → Dongbuk Gaknu (Banghwasuryujeong) → Changnyongmun → Bongdon (approx. 3hrs)
* Seojangdae → Hwaseomun → Seobuk Gongsimdon → Janganmun → Buksumun (Hwahongmun) → Dongbuk Gaknu (Banghwasuryujeong) → Dongjangdae → Dongbuk Gongsimdon → Changnyongmun → Bongdon → Paldalmun → Hwaseong Haenggung (approx. 7hrs)

The best way to explore Hwaseong Fortress is to follow the fortress wall the entire way around. However, since the fortress measures more than 5km in circumference, you will need a significant amount of time. If you have the time, use the all-day course above for the best tour. For a quicker look at some main highlights, choose either the 2-hour or 3-hour course.

When the World Heritage Evaluation Committee first visited Korea and saw the newly reconstructed Suwon Hwaseong Fortress, it was reluctant to register the fortress as a World Heritage. This was because they thought that the restored building would be too different from the fortress’s original form. However, after seeing the Hwaseong Seongyeok Uigwe, they had a change of heart.

The ‘Hwaseong Seongyeok Uigwe’ is a historical text with detailed records of the construction, systems, and rituals of the fortress. The text contains all sorts of official documents detailing everything there is to know about Hwaseong Fortress, including: construction designs and processes, the shapes of buildings constructed, building standards and special characteristics, the origin and use of building materials, material manufacturing processes and mobilization, personal details of laborers, budget details, pay calculations, and more.

After looking at this priceless text, the committee realized that Korea had not rebuilt the fortress at random, but had thoroughly researched and reconstructed the fortress in its original form. The evaluation committee praised the fortress saying, "Among the fortresses of both the East and West, the Suwon Hwaseong Fortress possesses highly developed scientific characteristics and stands as a prime example of architecture from the beginning of the modern era.” The International Council on Monuments and Sites (ICOMOS) evaluated the fortress saying, “Suwon Hwaseong Fortress is a representative military structure of the 18th century that combines the characteristics of European and Far East Asian fortresses, giving it a unique historical importance.”

A City Born from King Jeongjo’s Filial Piety

Suwon City, in which Hwaseong Fortress is located, is known as the ‘City of Filial Piety'. This is because the city was first established when King Jeongjo (1752-1800, the 22nd king of Joseon) moved the grave of his father Sado Seja (Crown Prince Sado, 1735-1762) to the area. Thirteen years after Jeongjo ascended to the throne (1789), he began making plans to move the grave in order to grant his father, who was sentenced to death during political power struggles, eternal peace. Jeongjo scoured the entire country looking for the perfect spot for the grave and decided upon Suwon’s Yungrung Tomb, paving the way for a great history to come. Since the story of Suwon began with Jeongjo’s deep loyalty to his father, ‘hyo’ (filial piety) is an important keyword when it comes to understanding the city.

At the same time that the tomb of Sado Seja was moved from Yangju Baebongsan Mountain (now Hwigyeong-dong, Seoul) to Gyeonggi-do Hwasan (now Gyeonggi-do, Hwaseong-si), Suwon was moved to its current location at the foot of Paldalsan Mountain. Because of this, the king’s subjects moved to the area and Hwaseong was constructed. King Jeongjo also built Haenggung Palace for himself so that he would have a place to stay when he came to pay his respects at his father’s grave. King Jeongjo also established Yongjusa Temple to stand guard over the royal tomb and even made plans for the transfer of the capital.

The latter part of the 18th century, when King Jeongjo ascended to the throne, was a time marked by intense power struggles between different political factions. The fundamental principles of Bungdang Politics, in which political factions sought to keep each other in check, collapsed and one political faction after another tried to seize all the power.

Sado Seja was the second son of King Yeongjo (1694-1776), the 21st king of the Joseon Dynasty. Even though the crown was traditionally given to the firstborn son, Sado Seja became the crown prince after his older brother died. When he was 10 years old, Sado Seja was married to Queen Hyegyeonggung Hongssi (1735-1815). Since he was an extremely bright child from his youth, Sado Seja was much loved by his father and placed in charge of state affairs instead of the king. He soon found himself embroiled in political turmoil, which was the start of the tragedy that ultimately led to his death.

Those who were opposed to Sado Seja becoming king were determined to drag him down from his position of authority. Exaggerating any and all of Sado Seja’s flaws and dreaming up false information, they reported these things to King Yeongjo. By riling up the people, they turned the wrath of the king upon Sado Seja. Sado Seja was eventually demoted to the rank of commoner and forced inside a wooden rice chest, where he died of starvation 8 days later. At the time of his death, Sado (stripped of the title of ‘Seja’, meaning ‘Crown Prince’) was only 27 years old. Sado was awarded the posthumous title of 'Jangheon' after his son King Jeongjo was coronated and was later restored to the rank of ‘Jangjo’ in 1899.

King Jeongjo, who had witnessed the tragic death of his father as a result of struggles between factions, made a clean sweep of the old government after succeeding to the throne and set about building a new government based on his own convictions. In order to eliminate the negative effects of political factionalism, King Jeongjo implemented 'Tangpyeongchaek', a political policy for choosing government officials from among each faction. In the 13 years following his ascension to the throne, Jeongjo sought primarily to establish some degree of royal sovereignty and social stability. As a result, it wasn't until 1789 that he decided to move the grave of his father from Baebongsan Mountain in Yangju to Suwon and construct a new city at the foothills of Paldalsan Mountain.

When the king announced his plans for the construction of the new city of Suwon, there arose opposition from among the people. This was because they thought that King Jeonjo was creating the new city to strengthen the power of the throne as opposed to actualizing political ideologies. However, the people failed to understand Jeongjo’s intent. The purpose of the new city was not to increase Jeongjo’s prestige and authority, but rather to create a city ruled by the political ideologies of Confucianism.

Joseon was a nation deeply rooted in Confucian tradition. Instead of ruling with military might, the king sought to establish a benevolent government in which the people would naturally follow the moral example of the king and government. Even though the people were split into factions and raised disputes, the underlying reason for this was to actualize these ideals. Important Confucian virtues included loyalty to one’s country and filial piety, or honor and loyalty to one's parents. Since King Jeongjo stood for the moral obligation of filial piety by moving his father’s grave to a good spot, it was difficult for any of the people to stand up to the king, no matter how strongly they were opposed.

Under the national ideology of Confucianism, filial piety was seen as more important than anything else. It was even considered to come before loyalty to one's own country.

When King Jeongjo moved the tomb of Sado Seja, the inhabitants and district offices that had been at the foothills of Hwasan (now Hwaseong) were collectively moved to the foot of Paldalsan Mountain. To ensure the security of the city, the king’s royal bodyguards were sent to the area. Top soldiers from surrounding military encampments were also picked and placed in the area, strengthening the military power of the city. In order to increase its safety and reputation, the new city was elevated in status from Suwonbu (special administrative district in Suwon with the purpose of defending the capital of Joseon) to Yusubu (government offices installed in an old seat of government or place of military importance) and construction of the fortress commenced. Through this, Suwon grew economically and militarily, backed by the strength of the king.

A Fortress Created with the Top Modern and Scientific Innovations of Its Time

The construction of the fortress surrounding Hwaseong was entrusted to Jeong Yak-yong, a Silhak scholar (a scholar of the Realist School of Confucianism). Using a foundation of traditional Korean fortress construction techniques, Jeong Yak-yong adopted the strong points of Chinese fortresses and the science of those in the West to develop a new fortress concept.

Korean fortresses are normally divided into 'eupseong' (a city fortress), which is used as a residence in times of peace, and ‘sanseong’ (a mountain fortress), which is used as a shelter in times of war. However, Hwaseong Fortress does not have a separate sanseong, but was built instead as an eupseong fortified with defense mechanisms.

If you take a look at the fortress structure, you will notice that the fortress has four gates—Changnyongmun to the east, Hwaseomun to the west, Paldalmun to the south, and Janganmun to the north—each of which is installed with an Ongseong (semi-circular protective wall). To the right and left of Paldalmun, the main gate of the fortress, are 4 sentry posts or patrol areas known as ‘jeokdae’. Along the fortress wall are 3 'gongsimdon' (2-story brick watchtowers) outfitted with drilled gun holes to allow soldiers to attack their enemies. Every 100m or so, you will see 'chiseong' (bastions) jutting out from the palace walls to allow soldiers to attack enemies approaching the castle. There are also 5 'poru' (cannon posts) with 'nugak' (a Korean-style building) on top and 4 'gaknu' (angled towers) where soldiers could stay in times of emergency. There are also 4 ‘ammun’ (secret entrances) that allowed for people and supplies to come in and out of the fortress relatively undetected. At the foot of Paldalsan Mountain you will see Haenggung Palace, the temporary palace where the king would stay when he visited Hyeonnyungwon (now known as Yungneung Tomb).

Must See Suwon Hwaseong Museum

The Suwon Hwaseong Museum is highly recommended for those who are looking for the best and easiest way to understand more about Hwaseong Fortress. Through the Hwaseong Fortress Construction Exhibition Hall (covering fortress construction and city development) and the Hwaseong Cultural Exhibition (covering the fortress construction workers, the 8-day visit of King Jeongjo, and the Jangyongyeong Guards Ceremony), you will find out almost everything there is to know about Hwaseong Fortress. At the Hwaseong Fortress Construction Exhibition, you will see the golden suit of armor worn by King Jeongjo on visits to Hwaseong; the Hwaseong Seongyeok Uigwe, with records on everything related to the construction of Hwaseong Fortress; and the secret letter King Jeongjo sent to Hwaseong Yusu (the equivalent of today’s mayor) Jo Sim-tae (1740-1799). Also on display are written directives from Sado Seja appointing vassal and civil servant Jo Don (1716-1790) as Gyeonggi 'Gwanchalsa' (equivalent of current-day Gyeonggi Provincial Governor) and 'Byeongmasugunjeoldosa' (top commanding navy and military officer).

• 21 Changnyongdae-ro, Paldal-gu, Suwon-si, Gyeonggi-do
• 031-228-4205
• 09:00-18:00 *Closed first Monday of every month
• Adults 2,000 won Youths 1,000 won Children Free of Charge
• www.hsmuseum.suwon.ne.kr (EN/JP/CH)

Construction of Hwaseong Fortress, based on the design by Jeong Yak-yong, began in February 1794 and was completed in September 1796. The fortress has a circumference of 5.52km and a total of 40 buildings, which makes the relatively short construction time (30 months) even more astonishing. When you consider the technologies available at the time, the construction of the fortress seems miraculous in many ways. The reason this type of construction was even possible was because of the genius-like labors of scholar Jeong Yakyong, who standardized raw materials for increased efficiency and developed new scientific equipment. Of course, King Jeongjo, the most reformed monarch of the Joseon Dynasty, also played a large part by trusting and backing the efforts of those involved in the construction of the fortress.

More specifically, Jeong Yak-yong invented scientific machinery and tools such as the 'Nokro' (a narrow type of crane or pulley to lift rocks) and Geojunggi (another type of crane) for the construction of Hwaseong Fortress. The most celebrated of these inventions is the 'Geojunggi', which used the principle of pulleys to lift heavy objects. Charged by King Jeongjo with making a machine to lift heavy items and prevent workers from getting injured, Jeong Yak-yong studied the Chinese ‘Gigidoseol’ (Illustrated description of marvelous machines) and noticed that the more pulleys were used, the less force was needed to move an object. A picture of an assembled Geojunggi as well as a picture of each of its disassembled parts is printed in the ‘Hwaseong Seongyeok Uigwe’ historical text. There are 4 pulleys on the top and bottom rods of the Geojunggi, which are connected to each other with rope. On the horizontal rod at the very top hang 2 pulleys. On both sides is a rope connected to the reels of these pulleys. Rocks were moved by winding or unwinding the rope. One of these machines was used in the construction of Hwaseong Fortress and was directly produced by the royal household before being sent to the construction site.

Did you know? The Hwaseong Train

The most convenient and effective way to see Hwaseong Fortress in a short amount of time is to take a ride on the Hwaseong Train. The train takes you on a 3.2-kilometer, 30-minute course to some of the key areas of Hwaseong Fortress, namely: Paldalsan Mountain, Hwaseomun Gate, Janganmun Gate, Hwahongmun Gate, and Dongjangdae. Riders can embark and disembark at the Paldalsan Ticket Office (031-228-4683) and the Dongjangdae Ticket Office (031-228-4686).

• 10:00-17:50 *The train does not run in inclement weather (snow, rain, etc.)
• adults 1,500 won Youths 1,100 won children 700 won

Hwaseong Fortress was built to implement modern equipment while reducing time and expenses, but still represented a huge investment of human resources and raw materials. To get the necessary funding, 10 years’ worth of Jeongbeonjeon money was used in advance. This was money that was to be budgeted to the King, Geumwiyong (military administration in charge of defending Seoul), and the Eoyoungcheong (a type of military unit). Secondary funding for the fortress came from Jeolla-do, Gyeongsang-do, and Pyeongan-do (now in North Korea) provinces.

According to the 'Hwaseong Seongyeok Uigwe', the fortress was constructed using 187,600 stones and 695,000 bricks. Food for the workers amounted to 6,200 seoks (7,037 barrels) of rice, 4,550 seoks (5,164 barrels) of beans, and 1050 seoks (1,191 barrels) of other grains. The project also took 26,200 ju (shares) of lumber, 559,000 geun (335,400kg) of metal, 2,900 geun (1740kg) of 'cheolyeop' (iron ornament for doors), 69,000 seoks (78,315 barrels) of charcoal, 53,000 tiles, and 86,000 seoks (97,610 barrels) of limestone. Among the 11,820 skilled laborers mobilized for the project were 642 masons, 335 carpenters, and 295 plaster workers. Everyone who participated in the construction was listed by name and separated into the categories of worker or overseer.

Today, Suwon is famous for its cattle and galbi (grilled marinated beef shortribs). This is because, up until 1940, Suwon was home to the nation’s largest cattle market. The thing that led to the development of this market was the construction of Hwaseong Fortress. During the Joseon Dynasty, cattle were used to plow fields and carry heavy loads. Since cattle were so valuable to farmers, butchering them was strictly prohibited. However, in order for construction workers of the enormous Suwon Hwaseong Fortress to keep up their strength, cattle were allowed to be slaughtered in large numbers, resulting in the development of a cattle market.

Seojangdae to Hwaseomun Gate

At the top of Paldasan Mountain is Seojangdae, which was a place from which soldiers could not only keep tabs on what was happening directly inside and outside the fortress, but also on movements for a distance of 100 ri (approx. 40km) in the area surrounding the mountain. It was also a place where soldiers could engage in battle or conduct military training. When King Jeongjo came to pay his respects at the royal tomb of his father, he also came here to watch the military training exercises and fireworks. To the back of Seojangdae is Seonodae, where trained crossbowmen stayed.

If you walk north along the fortress from Seojangdae, you will come upon Seoporu. A ‘poru’ is a sentry post built on top of a ‘chiseong’ (bastion). It is a type of facility that was used to fire cannons at enemies approaching the fortress wall.

To the right and left of Seoporu are Seoilchi (Western turret I) and Seoichi (Western turret II). These turrets or bastions are structures that jut out from the fortress wall and are used to watch out for enemies and prevent them from trying to climb over the wall. To the side of Seoilchi, is Seobuk Gangnu. Seobuk Gangnu (tower of the northwest) is one of the 4 ‘gangnu' (fortress guard tower built along the wall). Allowing soldiers to watch out for enemy invasions from a high vantage point, these towers also served as a place of rest for soldiers and a military command post in times of state emergency. The structure was installed with 'ondol' (a type of Korean floor heating) as a special consideration for soldiers on night duty to allow them to rest more comfortably. One of the charms of Seobuk Gaknu is the view out towards Hwaseomun. The view stretches all the way to Janganmun, highlighting the harmony of the fortress and the modern buildings just past its borders.

Hwaseomun is the west gate of Hwaseong Fortress. On top of the fortress wall is a one-story ‘munru’ (a pavilion-like structure built on top of a fortress gate). If you go inside and look out, the fortress wall seems to block the space, making it feel rather cramped. The reason the gatehouse is built very close to the fortress wall is not only to prevent enemy attack, but also to shield the gatehouse from the cold winter winds and hot summer sun. The semicircular stone structure that wraps around in front of the fortress gate is called an ‘ongseong'. To one side of Hwaseomun is Seobuk Gongsimdon, a structure that allowed soldiers to take shots at their enemies from 3 different sides.

If you take a look at Seobuk Gongsimdon and Hwaseomun together, you will be struck by the architectural beauty of Hwaseong Fortress, bringing to mind Jeongjo’s philosophy of ‘Beauty brings fear to the enemy’. The gongsimdon at Hwaseong Fortress was the first gongsimdon to be built in the nation. A stronghold from which to observe the movements of enemy troops and defend the fortress, the gongsimdon measures 13m high and has 3 different stories in its interior. The first floor is the fortress itself while the second and third floors were constructed separately with a ladder between them to allow soldiers to move from floor to floor. At the very top are dragonhead sculptures from which arrows were shot.

Another defense mechanism is ‘hyeonan’, grooves that were drilled lengthwise from the top of the fortress to the bottom. Boiling water or oil was poured down these grooves to attack enemies trying to creep up the sides of the fortress wall. Among all the fortresses of Korea, Hwaseong Fortress is the only one to have been built with hyeonan.

Janganmun Gate to Paldalmun Gate

Janganmun is the north and main gate of Hwaseong Fortress. King Jeongjo named the gate after the flourishing city of Chang’an of the Chinese Tang Dynasty in hopes that Suwon would become just as prosperous. In Korea, the south gate is usually the main gate of a palace or fortress, so why is it that the main gate of Hwaseong Fortress is the north gate? The reason for this anomaly is that the north gate of Hwaseong Fortress was the first gate that King Jeongjo passed through as he came to the city from Seoul.

The ‘munru’ (gate tower) of Janganmun is 13.5m in height and 9m in width, making it even larger than Seoul’s Sungnyemun Gate (official name of Namdaemun Gate, National Treasure No. 1). The fortress gate is extremely similar to Sungnyemun in appearance. The gate is outfitted with defensive structures such as ongseong (semi-circular protective wall) to the front and jeokdae observation structures on each side. Ongseong and jeokdae served as secondary and tertiary defense mechanisms for protecting the gate, making the fortress virtually impenetrable from attack.

Adjacent to Janganmun to the north is the Hwahongmun floodgate. Hwahongmun not only acts as a safeguard to prevent the overflow of the Suwon Stream, which runs north to south, but also serves a defensive function. Hwahongmun is made of 7 arch-shaped piers and topped with a numaru-style gatehouse. One of the most scenic spots of Hwaseong Fortress, Hwahongmun is famous for its nightscape along with Banghwasuryujeong.

Next to Hwahongmun is Dongbuk Gangnu (meaning ‘tower of the northeast’ and nicknamed 'Banghwasuryujeong'), an important place that connects the eastern and northern sides of the fortress. This facility was used as an observation post and for conducting military operations in times of state emergency. On top of the hill is a pavilion; at the bottom of the pavilion is a ‘yongyeon’ (a pond in which a dragon is said to live). Though meant for wartime use, the aesthetics of the structure as a pavilion were also taken into consideration and constructed using stone, timber, and bricks.

On the lower part of the pavilion, the pattern of the foundation stones is of wooden columns with bricks in between. The cross-shaped pattern of the horizontal and vertical wood adds to the overall beauty of the pavilion. When King Jeongjo took a look around the fortress construction site in 1796, he discovered this very spot. With Geobuk (turtle) Rock to the right of Paldalsan Mountain, it was deemed an ideal spot, providing an open view from all sides. King Jeongjo decreed that the place would be known as 'Banghwasuryujeong'. After this decree, the pavilion was completed in just 45 days. A place with a stunning view where the ancients once sat to appreciate the moon reflecting off the pond, this romantic spot has been selected as one of the ‘Eight Scenicwon.’

If you continue past Hwahongmun, you will come across Dongbuk Poru, from which cannons were fired, followed by Dongjangdae, where soldiers would practice archery and martial arts. Since Dongjangdae was used for martial arts training, it was also known as ‘Yeonmudae’ (‘yeonmu’ meaning ‘military exercise’). Leading up to Dongjangdae is a ramp made out of dirt that allowed for the king to ride his horse right up to the pavilion.

After passing Dongjangdae, you will soon come across Changnyongmun, the east gate of Hwaseong Fortress. Changnyongmun is an arched gate topped with a one-story gatehouse that is protected by an ongseong. The double arches are made to different scales on the inside and outside, measuring a height of 4.8m on the inside and 4.5m on the outside. On the left side of the gate outside the fortress is a detailed list of the names of those who participated in the construction of the palace, from higher-ranking overseers to low-ranking masons. This list served as an official registry of names to find who was responsible if a flaw was found in the fortress. To the north of Changnyongmun is DongbukNodae, which served a similar function to Seonodae, the crossbowmen residence.

South along the fortress from Changnyongmun, are ‘poru’ (cannon posts) and ‘chi’ (bastions) installed alternately along the wall. Take a close look at the fortress as you walk along and you will notice holes drilled inside the fortress wall. These holes were used to shoot arrows or other forms of artillery. Some holes allowed viewers to see far away while others were angled to show only the closer part of the wall below. The holes were constructed this way to make a distinction between enemies invading from near and far and eliminate any blind spots.

From the outside, the fortress looks as if it is strongly built with stacked stones, but from the inside looks as if it is built with a low wall. This is because the interior of the fortress wall is covered with dirt and mud. The fortress was designed this way so that even if it was attacked from the outside, the dirt on the inside would absorb the shock. Since a cannonball would get stuck in this softer dirt, the fortress would be less likely to fall.

One of the most notable fortress facilities is 'bongdon'. In the olden days when methods of communication were not as developed as they are today, the fastest way to communicate was by signal fire. This signal fire is called 'bonghwa' and the place where the signal fire was lit at Hwaseong Fortress is called bongdon. Interestingly enough, the place where signal fires are lit is usually referred to as 'bongsudae'. Most of the bongsudae in Korea are located on the mountaintops. During the day, the smoke of a signal fire was used to communicate; at night, fireworks.

The name bongdon is a combination of the words 'bongsudae' and 'dondae' (meaning 'high grounds'), which were both considered a part of fortress defenses. One signal fire was kept lit in times of peace, two were used to signify that the enemy has been spotted approaching, three signalled that they had arrived, four were used to announce the start of a fight, and five were lit to signal a full-blown state of emergency. Since it was important for the smoke to rise up immediately instead of dissipating, horse or wolf droppings were often placed on top of the fire.

The section between Dongnam Gaknu (tower of the southwest) and Paldalmun was destroyed in the Korean War (also known as the 6.25 War) and has yet to be restored. Paldalmun is the south gate of Hwaseong Fortress. The archshaped door made of stacked stones is large enough for the palanquin (sedan chair) of the king to enter and exit, and is topped by a double-roofed gatehouse. There are a variety of defense mechanisms for protecting the fortress gate such as a low wall surrounding the gatehouse, a semi-circular ongseong on the outside and jeokdae to the left and right.

Hwaseong Haenggung – the Residence of the King

Haenggung Palace was the temporary residence of the king and was used by King Jeongjo when he came to pay his respects at the royal tomb of his father Sado Seja. However, the palace was also intended as a place to which the king could retire with his mother and live out his later years after stepping down from the throne. This is why Haenggung Palace was built to a larger scale than any other haenggung (temporary palaces) of the Joseon Dynasty.

At the entrance of Haenggung Palace is a 'gwangjang' (plaza or square). Illustrations are drawn here and there on the floor of the plaza. One picture, called 'banchado', shows the procession of King Jeongjo bringing his mother to Suwon. There is also a picture of Queen Hyegyeonggung (mother of King Jeongjo) on her 60th birthday party.

This particular illustration, with its elaborate portrayal of every person in attendance, gives the viewer a real sense of how magnificent the feast was. At the same time, the picture serves as an important point of reference for research on royal court banquets. In addition to this illustration are pictures showing a party celebrating the completion of the construction of Suwon Hwaseong Fortress, grain being given to the poor at Jeongjo’s mother’s 60th birthday party, and military training exercises.

After entering through the main gate of Sinpungnu, you will see Bongsudang towards the center. This building was used as the jeongjeon (main hall) when the king was in town. The name ‘Bongsudang’ stems from Queen Hyegyeonggung’s 60th birthday party and the wish for ‘ten thousand years of boundless longevity’. The interior of the building has been decorated to recreate the way it would have looked for the celebrations. Jangnakdang, connected to Bongsudang, was used as a place of rest for Queen Hyegyeonggung. The name ‘Jangnakdang’ comes from ‘Changle Palace’ ('Jangan' in Romanized Korean), the home of the Empress Dowager of the Chinese Han Dynasty. Jangnakdang was built as a place for King Jeongjo to live with his mother after stepping down from the throne.

Boknaedang was the main quarters in which King Jeongjo stayed. It was usually used by the family of the Hwaseong Yusu (the equivalent of today’s mayor), but was also used by the king when he came to the city. Even though King Jeongjo came to the Hwaseong Haenggung often, in order to reduce unnecessary expenses, he did not make a separate residence for himself. Building a separate residence would have cost a significant amount of money, as would the maintenance fees when the palace was empty. Through this dual use of Boknaedang, we can get a glimpse of Jeongjo’s rational and practical personality. Used as a filming site for the world-famous Korean TV drama ‘Dae Jang Geum’, Boknaedang is featured in a number of different scenes.

Yuyeotaek, located to the left of Bongsudang, is where the Hwaseong Yusu (city mayor) resided as he conducted official business. In order to accommodate a large number of people, it is equipped with a wide plaza and service corridors referred to as 'haenggak'. In front of the 'nugak' (a Korean-style building) is a Korean sundial called an ‘Anbuilgu’. The sundial was made in 1434 by King Sejong (1397-1450), the 4th king of the Joseon Dynasty and creator of 'hangeul' (the Korean alphabet). The sundial was installed in Jongno, the main street of Seoul (Hanyang) at the time, as the first public clock.

Of the many buildings of the Hwaseong Haenggung Palace, the only one that has remained in its original form is Naknamheon. The building was used by King Jeongjo to celebrate Queen Hyegyeonggung’s 60th birthday party, military banquets, and the ceremony for presenting certificates to those who passed the ‘Gwageo’ (civil service exam). In the interior of Naknamheon is Deukjungjeon where Jeongjo used to practice archery.

Located next to Naknamheon is Hwaryeongjeon. Hwaryeongjeon, which includes the annex buildings of Unhangak, Jeonsacheong, and Punghwadang, is where the portrait of King Jeongjo is hung and ancestral rites were held each year. When the latter took place, people would gather in front of Hwaryeongjeon and a woldae (terrace) was prepared on which court musicians performed. In front of the woldae were 3 sets of stairs. The middle stairs were reserved for use by the spirits. The cornerstones on both sides are adorned with cloud shapes representing the heavens.

If you go to the back of Unhangak (the main building of Hwaryeongjeon where the portrait of the king is), you will see a large ‘agungi’ (a type of fireplace or hole for lighting a fire to warm rooms or cast iron kettles). Also in this area is a ‘gudeul’ (a type of Korean floor heating system), built to maintain heat only in the small section where the portrait of the king is enshrined.

 

 

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Korea culture : UNESCO World Heritages - Seokguram Grotto & Bulguksa

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.

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.

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.

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.

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.

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.

 

 

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