Introduction

While perhaps not as common as tigers or dragons in Korean Buddhist artwork, the image of elephants is still quite prevalent. Whether it’s on stupas, paintings, or sculptures, the elephant can be seen at Korean temples if you look close enough.

History of Elephants in Buddhism

According to a Buddhist legend, one night during a full moon, and while sleeping at the palace of her husband Śuddhodana, the queen, Queen Maya had a vivid dream. In this dream, she felt carried away by the Four Heavenly Kings to Lake Anotatta in the Himalayas. After being bathed in the lake by the Four Heavenly Kings, the four kings clothed the queen in heavenly clothes, anointed her with perfumes, and provided her with divine flowers. Soon after a white elephant, holding a white lotus flower in its trunk, appeared and went around her three times. Eventually, this elephant entered her womb through her right side. The white elephant disappeared and the queen awoke. Having awoken from her sleep, Queen Maya knew that she had been presented with an important message. And it’s from this origin in Buddhism that elephants come to symbolize greatness.

Another example of the elephant in early Buddhism can be found in the disciple Sariputta, when he likens the guiding spirit of Buddhism to the footprint of an elephant. From the “Maha-hatthipadopama Sutra: The Great Elephant Footprint Simile,” it reads, “Ven. Sariputta said: ‘Friends, just as the footprints of all legged animals are encompassed by the footprint of the elephant, and the elephant’s footprint is reckoned the foremost among them in terms of size; in the same way, all skillful qualities are gathered under the four noble truths.’”

Additionally, in the early stages of Indian Buddhist sculptural art, the Buddha is symbolized as a Bodhi tree, the Wheel of the Dharma, and as an elephant. Thus, the elephant serves as a symbol of Buddhism. This is most notably seen at the Sanchi Stupa in India. It was originally commissioned by the Mauryan emperor Ashoka the Great in the 3rd century B.C. There are numerous examples throughout the stupa, but perhaps the most noticeable elements are on the Eastern Gateway pillars. In all, the elephant carvings at the Sanchi Stupa are royal mounts, symbols of Buddhism, simple ascents, and mythological creatures. But already, and quite early on, elephants played a central role in the imagery of Buddhism.

Symbolism of Elephants in Korea

Like so much of Buddhism, the symbolism found in the imagery of the elephant would move eastward, first through China and then onto the Korean Peninsula and Japan. In Korean Buddhism, the elephant is mean to symbolize strength, patience, loyalty, and wisdom.

In Korea, and like the white tiger, elephants were meant to symbolize rulers. However, elephants were and are considered to be more beloved because they can be tamed. Additionally, while elephants embody the idea of wisdom put into action, lions often represent decisive judgment and action based on wisdom.

Outside the tiger and the lion, elephants also appear alongside the dragon in Korean Buddhism. One of the most likely reasons for this is that the elephant is easier to draw or sculpt than that of the lion. Otherwise, it’s not easy to understand why elephants are often paired with dragons to form familiar Buddhist groupings, especially when lions may appear to be a more suitable option. This is particularly true given the widespread use of the phrase “dragons and tigers,” referring to two equally powerful opponents or entities.

Elephants at Korean Buddhist Temples

There are numerous wonderful examples of elephants appearing in the artwork of Korean Buddhism. Here are but a few of these examples:

Perhaps one of the most notable images is that from the Palsang-do (The Eight Scenes from the Buddhas Life Murals) that typically adorns the main hall of a temple. The first from this set is entitled “The Announcement of the Imminent Birth.” In this painting, Queen Maya becomes pregnant after she has a dream of a white elephant. The white elephant is offering her a white lotus from its trunk. After this, the white elephant then circles Queen Maya three times and then enters her womb with its tusk. Upon waking, Queen Maya realizes that she has experienced something spiritual. A Brahmin was consulted to interpret the significance of this white elephant dream. The Brahmin said, “A great son will be born. If he renounces the world and embraces a religious life, he will attain perfect enlightenment and become the saviour of this world.” A wonderful example of this painting can be found inside the Daegwangjeon Hall of Sinheungsa Temple in Yangsan, Gyeongsangnam-do. In total, there are four of the eight paintings from the Palsang-do from the mid-17th century inside the main hall at Sinheungsa Temple. They are the first, fourth, fifth, and eighth, and they are stunning.

Another painted image, or even statue, is that of Bohyeon-bosal (The Bodhisattva of Power). Like the Hindu god Brahma, Bohyeon-bosal appears atop a six-tusked white elephant. If Bohyeon-bosal appears as a statue, he’ll be mounted on a six-tusked white elephant inside a Geumgangmun Gate. This is typically the second of five potential entry gates at a temple. In this gate, Bohyeon-bosal appears as a child-like figure. A wonderful example of this can be found at Ssanggyesa Temple in Hadong, Gyeongsangnam-do. As for the painting of Bohyeon-bosal, he can appear in a number of incarnations, so he can be quite difficult to discern. However, the easiest way to distinguish Bohyeon-bosal from other Buddhas and Bodhisattvas is that he’s typically mounted on a white elephant. Perhaps the most stunning example of this can be found inside the Daeung-jeon Hall at Jangyuksa Temple in Yeongdeok, Gyeongsangbuk-do. This image dates back to around the mid-18th century, and it is part of a collection of 18 historic murals inside the main hall.

As for sculptures of elephants, you can find them in various mediums like wood or stone. And they can be highly stylized in form. A good example of this can be found inside the Bulimun Gate at Tongdosa Temple in Yangsan, Gyeongsangnam-do. If you look up at the rafters of the interior of the structure, you’ll find a white elephant facing out towards an orange tiger. Not only are they great images, but they encompass the very concept of the Bulimun Gate, which is known as the “Non-Duality Gate” in English. Basically what this means is that there is no idea of hard vs. soft, or love vs. hate; instead, all things are one. And these oppositional forces are wiped away once passing through the Bulimun Gate. And in the same context, the white elephant, which symbolizes Buddhism, and the orange tiger, which symbolize Korean shamanism, are no longer two entities; instead, they are one and the same.

And yet another sculpted example can be found at the base of a modern stupa at Jukrimsa Temple in Yeongcheon, Gyeongsangbuk-do. Housed inside this stupa are the remains of a monk. With the elephants at the base of this stone structure, it’s meant to symbolize the idea of wisdom. And through the preservation of these stone monuments, and the way in which Seon Buddhism acts is through the transmission of a teacher’s wisdom/teachings to that of his/her students.

Korean Buddhist Sangha (Community)

As for the monastic sangha (community) in Korea, the very idea of the elephant seeps into the very language. One example of this can be found in an idiom in Korea. During the “angeo,” which is a three-month long intensive retreat for Korean Buddhist monastics, the temple assigns roles and task to all those that participate. This information is then compiled into a chart and displayed as a public notice on a plaque known as the “dragon-like elephant list.”

This “dragon-like elephant” imagery is meant to motivate monastics to practice with the same fearlessness and endurance as this mythical creature. As a result, it’s a fitting name for those devoted to the three months of intense seclusion and meditation.

Conclusion

While not as common to see as other animals, whether real or imagined, like the tiger, lion or dragon, the elephant plays an important part in the symbolic imagery found within Korean Buddhist art. The ideas of strength, patience, loyalty, and wisdom are bound by the symbolic imagery of the elephant. And these images can be found in the forms of stupas, statues, paintings, and various other imagery. So while you might need to look a little closer for these elephants, they are definitely out there to be enjoyed.

Temple History

Jangnaksa Temple is located in the eastern part of Jecheon, Chungcheongbuk-do in the western foothills of Mt. Wangbaksan (597.5 m). Jangnaksa Temple was first built during the Three Kingdoms of Korea Period (18 B.C. – 660 A.D.). In total, Jangnaksa Temple was rebuilt a total of five times, and it was a prosperous temple during the Goryeo Dynasty (918-1392). The temple remained as a fully functioning temple until the mid-Joseon Dynasty (1392-1910). The temple would eventually fall into disrepair in the 17th century.

For the longest time, all that remained of the temple was the “Seven-Story Stone Brick Pagoda in Jangnak-dong,” which is Korean Treasure #459. It isn’t until 1971 that the monk Noh Seung Beophae rebuilt the temple in order to protect the brick pagoda, while also continuing the tradition of the former temple. The current configuration of Jangnaksa Temple is much smaller than the original temple found at the Jangnaksa-ji Temple Site; to which, the current temple is located just to the east.

An excavation was conducted on the Jangnaksa-ji Temple Site from 2003 to 2008. This excavation revealed many artifacts including roof tiles, earthenware, pottery, clay molds, tombstones, and bronze spoons. In total, there were 34 buildings discovered on the temple site.

Temple Layout

As you first approach Jangnaksa Temple up a pathway to the south of the Jangnaksa-ji Temple Site, you’ll first find the “Seven-Story Stone Brick Pagoda in Jangnak-dong.” For the longest time, this is all that remained of the ancient temple. The pagoda is a rare historic brick pagoda that’s one of only about a dozen still in existence in Korea. The pagoda is made of grayish black clay-slate stone that was made into bricks. The very first layer of the stylobate is made from natural stone. And it’s on top of this stone that the seven-story main pagoda of the structure stands. The base has granite pillars on each of the four corners with bricks filling in the caps between these granite pillars. Traditionally, there’s a door fitted inside a niche on both the south and north sides of a brick pagoda. However, the “Seven-Story Stone Brick Pagoda in Jangnak-dong” only has a south side door. The north door, for whatever reason, has long since disappeared. Both the south and east sides of the first story of the structure are heavily damaged. The roof stones covering the centre body stones of the main body are made completely of bricks. The eaves of the roof stones are short and horizontal. And the four edges to these roof stones have holes in them that formerly allowed bells to hang from them. Of the upper portion of the brick pagoda, only the base of the finial still remains.

During restoration work conducted in 1967, a bronze piece engraved with a flower pattern was found on the upper part of the roof stone of the seventh story. It’s assumed to have once been a part of the pagoda’s former finial. Additionally, there are traces of the surface of the pagoda having been plastered in parts. Currently, the “Seven-Story Stone Brick Pagoda in Jangnak-dong” is being restored, once more.

To the north of the this pagoda is the temple site grounds; while to the east, you’ll find the newest iteration of Jangnaksa Temple. In total, there are only a couple of shrine halls that visitors can explore. To the far left are the monks’ dorms, while straight ahead of you is the main hall at Jangnaksa Temple. This is the Geukrak-jeon Hall. The exterior walls of the main hall are adorned with realistic images of the Shimu-do (The Ox-Herding Murals), as well as flowers and Bicheon (Flying Heavenly Deities). Between the monks’ dorms and the Geukrak-jeon Hall, and to the rear, you’ll find an outdoor shrine dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion). This three metre tall stone statue dedicated to Gwanseeum-bosal is quite elegant in appearance.

Stepping inside the Geukrak-jeon Hall, you’ll find a triad of images on the main altar. In the centre sits Amita-bul (The Buddha of the Western Paradise), who is joined on either side by Gwanseeum-bosal and Jijang-bosal (The Bodhisattva of the Afterlife). The triad rests under a large, red canopy. And joining this main altar triad inside the main hall is a modern Shinjung Taenghwa (Guardian Mural) hanging on the far right wall.

To the right of the Geukrak-jeon Hall is the other temple shrine hall at Jangnaksa Temple. This is the Gwaneum-jeon Hall. The exterior walls have yet to be painted to this newly built shrine hall. Stepping inside the Gwaneum-jeon Hall, you’ll find a solitary image dedicated to Gwanseeum-bosal (The Bodhisattva of Compassion) on the main altar. And between the Geukrak-jeon Hall and the Gwaneum-jeon Hall is another outdoor shrine dedicated to Gwanseeum-bosal. This one is slightly overgrown with a standing image of the Bodhisattva of Compassion holding a vase with a lotus flower in it. And on either side of the statue are two slender seokdeung (stone lanterns).

How To Get There

You can simply take a taxi from the Jecheon Bus Terminal to get to Jangnaksa Temple and the “Seven-Story Stone Brick Pagoda in Jangnak-dong.” The taxi ride will take 8 minutes, or 2.6 km, and it’ll cost you 4,600 won (one way). Or if you’re feeling more adventurous, you can simply walk.

Overall Rating: 3/10

Jangnaksa Temple definitely isn’t the most impressive temple that you’ll visit in Korea; however, with the “Seven-Story Stone Brick Pagoda in Jangnak-dong” standing out in front of the temple grounds, as well as the Jangnaksa-ji Temple Site next to it, all three can make for quite a nice little adventure in Jecheon, Chungcheongbuk-do. The main highlights to Jangnaksa Temple are the realistic and highly original Shimu-do (Ox-Herding Murals) that adorn the exterior of the Geukrak-jeon Hall, as well as the pair of outdoor Gwanseeum-bosal statues on either side of the main hall.

The Lotus Flower and Korea

In Korean Buddhism, and Buddhism more broadly, the lotus flower is arguably the most popular symbol used. In Korean Buddhism, it can appear almost anywhere including in paintings, latticework, altars, nimbus, mandorla, statues, bells and pedestals.

In general, the lotus flower is associated with faithfulness, spiritual awakening, and purity. Additionally, the lotus flower is also known to symbolize purity of speech, body, and of the mind. The reason for this is that the lotus flower emerges from the muddy and murky water perfectly clean. This symbolism is manifested in the purity of the enlightened mind rising above the muddy midst of the suffering of Samsara.

The different colours of the lotus flower have different meanings. The white lotus flower symbolizes mental purity and spiritual perfection. The red lotus flower represents compassion. The blue lotus flower symbolizes wisdom and intelligence; and thus, it’s typically the colour of the lotus flower that Munsu-bosal (The Bodhisattva of Wisdom) holds. Also, the blue lotus flower is typically depicted as being partially opened. And finally, the gold/yellow lotus flower represents the completion of enlightenment.

In addition to all of this symbolic meaning, the lotus flower has a bit of a paradoxical existence in Korean Buddhism. While it is venerated as a symbol of Korean Buddhism, it is also used in daily life, as well. Seeds are used for cooking rice, leaves to brew tea, lotus roots to cook, and the fibers are made to use thread. Thus, a lotus flower has a dual purpose: that of symbolism and that of a practical purpose.

Another interesting fact about the lotus flower outside this dual purpose is in Korean society, in general. In Korea, nearly all ponds are referred to as “yeonmot – 연못” in Korean, which literally means “lotus pond” in English. It’s yet another example of just of pervasive Buddhist language is in Korean.

The Lotus Flower and India

But before the lotus flower came to symbolize what it does in Korean Buddhism, and in Buddhism more generally, it’s important to take a look at its origins. And for the lotus flower, its origins start in India.

In Buddhist history, the lotus flower made its first appearance when the Hindu deity Brahma visited the Buddha, Seokgamoni-bul (The Historical Buddha) shortly after his enlightenment. At first, the Buddha, Seokgamoni-bul, decided to keep his enlightenment a secret and not share it with any other living beings. However, Brahma urged the Buddha to reconsider, explaining his viewpoint through the usage of the lotus flower as a metaphor.

The metaphor that Brahma would employ when using the lotus flower was to categorize beings into three distinct groups. The first of these groups consists of lotus flowers submerged underwater and seen as beyond redemption. The second symbolic category has the lotus flower growing towards the water’s surface and struggling to break through. This, in effect, represents beings in need of the Buddha’s teachings. And finally, the third group features the lotus flower soaring high above the murky water and into the open air. This symbolizes beings as fully self-sufficient and not requiring salvation having gained enlightenment. While this metaphor might have a bit of a controversy attached to it because of its potential support of the theory of three inherent natures, it also highlights the central significance that the lotus flower plays in Buddhism.

Another interesting feature in Buddhism is that the Buddha, Seokgamoni-bul, never explicitly describes the lotus flower as a noble symbol of spiritual growth in any of the sutras. Instead, the closest we get is the connection to the Lotus Sutra.

Thus, the very transformation of the lotus flower symbol to represent original purity can be attributed to the influence of Indian culture.

The Lotus Flower and China

What’s interesting about the symbolic origins in India is that it didn’t seem to be transferred over to other nations as Buddhism migrated eastward. Instead, it was the Chinese that elevated and appreciated the lotus flower’s ability to remain clean in its muddy surroundings. Indians, on the other hand, considered it commonplace.

In fact, it’s Zhou Dunyi (1017-1073) who is credited with elevating the lotus flower to a revered position in China. His teachings would greatly influence Cheng Hao (1032-1085) and Cheng Yi (1033-1107) both of whom were central to shaping Neo-Confucian thought. Along with Cheng Hao and Cheng Yi, Zhou Dunyi also worked with Shao Yong (1011-1077) and Zhang Zai (1020-1077). All would work towards integrating Confucian philosophy with Buddhist thought. This group of scholars would become known as the “Five Great Masters of the Northern Song Dynasty.”

Of all their work, it’s the “Ai Lian Shuo,” or “On Loving the Lotus Flower” in English, that’s the most celebrated and connected to the lotus flower. The text presents the lotus flower as a symbol to help portray the ideal character of a Confucian scholar, elevating it to a position above Tao Yuanming’s (365-427 A.D) chrysanthemum or the Tang Dynasty’s (618–690, 705–907 A.D.) reverence for the peony. In his depiction, Zhou Dunyi emphasizes the lotus flower emerging from murky waters, yet remaining pure, and its fragrant scent spreading far and wide.

Conclusion

The high regard for the symbolic value of the lotus flower traveled eastward towards the Korean Peninsula. Like so much of Chinese Buddhism that migrated eastward, Korean Buddhism would absorb, incorporate, and then make it artistically and/or doctrinally its own. Such is the case with the lotus flower and all of its various manifestations at Korean Buddhist temples, whether it’s in a painting, a statue, or latticework. They are both stunning and profound in their graceful beauty. So the next time you’re at a Korean Buddhist temple look around at all that the temple has to offer artistically, and you might just be surprised when you spot a lotus flower.