| |
 |
|
|
|
Introduction |
|
|
Tongdosa
Museum was founded for protecting and preserving
Korea's Buddhist temple painting tradition and for
providing the public with a comprehensive understanding
of this tradition.
Vinaya Master Chajang founded Tongdosa Temple in
the 7th century C.E. during the Silla Kingdom. In
1954, the temple established exhibition space in
the Hall of Avalokitesvara and the Pavilion of Eternity
in order to preserve and exhibit antiquities from
the temple's ancient history, and this served as
the base for today's facility. The temple built
a separate exhibition hall in 1987, and received
official approval from the government as a museum.
|
This set the stage for the formal collection, preservation
and research of paintings and artifacts while making
a major contribution to the activation of Buddhist
cultural development.
The growing number of activities and exhibitions
at the museum in the following years resulted in
demands for a larger and more comprehensive building.
In 1994, Ven. Wolha, director of the temple, gave
his direction and support for the construction of
a new building. The new building was largely funded
both by the temple and by the government. The two
source of income made possible the building of the
impressive new museum, which was dedicated on April
11, 1999.
Tongdosa Museum now has the facilities to protect
and preserve a growing number of important paintings
and artifacts for posterity and it includes spaces
for storage, exhibition and office, a cultural center
that seats 150 for public and professional education.
Centered around Buddhist cultural properties, Tongdosa
Museum's extensive collection of more than 30,000
artifacts, from the prehistoric to the modern, includes
one National Treasure, 11 nationally-designated
treasures, and 34 official Provincial Cultural properties.
In particular, the museum houses the world's largest
and finest collection of Buddhist temple paintings,
which number more than 600. This collection includes
a number of genres, ranging from line drawings and
sutras to a huge 15-meter Tangka painting.
The museum is Korea's only one specializing in Buddhist
paintings and as such will become an important center
for domestic and international research into the
Korean temple painting and other Buddhist art traditions.
Apr. 15, 1954. Established
Treasure Hall in Gwaneum-jeon
Sep. 9, 1975. Moved
to Manse-lu
Oct. 1, 1985. Museum
opened
1) Permanent gallery (The main building)
2) Special exhibition gallery (Manse-lu)
Mar. 5, 1988. Approved
to Museum by the Ministry of Culture
Aug. 1993. Entered in
UNESCO
Apr. 16, 1994. Construction
of Museum began
Apr. 11, 1999. Museum
opened |
|
| |
|
Facilities |
Total
floor space: 4,500㎡
Galleries: 2 permanent
galleries / 2 special exhibition gallery
Exhibits: 600 pieces
Lecture Hall: 150 seats
A site of construction term:
May. 5, 1994 ~ Dec. 30, 1998. |
 |
|
Collection of Relics |
Gilt-bronze Triad Amitabha |
| This
Triad Buddha reflects the characteristics
of the style of Unified Silla Kingdom. It
was handed from the temple in Mt. Geumgang
to Tongdosa Temple. The form of hand of Buddha
touching the earth is called bh?mispar?a mudra.
At the both sides of Buddha there are bodhisattvas
standing on a lotus, carrying a s?tra in hand.
One has small Buddha on the crown and the
other has kundika that identify two bodhisattva
as Avalokitesvara and Mahasthamaprapta. The
texts from the pedestal of the Buddha report
400 patrons and the year of 1450 when the
Triad Buddha was repainted by gold. On the
upper part of the pedestal there still remains
another record but it has never been investigated
because of the reason of belief and it was
recently covered with gold. |
|
|
|
| |
Tangka Painting |
As
Tangka Painting is the largest Buddhist painting
in Korea, it is hung for the outdoor ceremonies.
Due to the size of such a painting and equipment,
facilities, manpower for hanging it, the painting
is shown to the public once or twice a year.
Sakyamuny is represented as Locana wearing
a crown and jewelry like a bodhisattva. On
the crown there are seven Buddhas and two
hands hold a lotus which represents the famous
silent transmission of the Dharma to his disciple
Mahakasyapa at Mt. Grdhrakuta. It also means
that the Buddhism during Joseon Dynasty succeeded
the tradition of the Zen Buddhism. The color
of red, green and blue are harmonious and
simple. The patterns on the robes are also
very complicated but not diffuse. The line
is very fluid and the color is bright. |
|
|
|
Trikaya Paintings (Treasure No.1042) |
This
Buddhist painting was hung on the backside
wall in the Daegwangmyeongjeon of Tongdosa
Temple. This painting consists of three pieces.
In the middle there is Vairocana(Dharmakaya),
the personification of the cosmic body, Locana(Sambhogakaya)
to the left side, who symbolizes virtue and
the body of bliss that pervades the cosmos,
Sakyamuny(Nirmanakaya) to the right side into
whom Buddha transformed to meet the needs
of sentient beings.
Vairocana is surrounded by 14 bodhisattva,
10 disciples, eight guardians, the Dragon
King and Dragon Lady and a total of 14 directional
Buddhas. Locana is represented as a bodhisattva
and is surrounded by two Buddhas, 6 bodhisattva,
2 disciples and guardians. Sakyamuny is surrounded
by two Buddhas, 6 bodhisattva, 2 disciples,
2 guardians.
This Trikaya was painted in 1759 by 15 painters
including Yim Han. The red and the green is
the main color and the elaborate patterns,
fluid lines are the characteristics. |
|
|
|
|
Eight Scenes from the life of Buddha
(Gyeongnam
local cultural heritage No.279) |
The
life of Buddha is represented in 8 scenes.
The first scene is Descent from Tusita Heaven
that includes the dream of the white elephant
with six ivory which carries Sakyamuny on
its back, entering the side of Sakyamuny's
mother-to-be Queen Maya.
The second scene is Birth in Lumbini. When
Queen Maya stopped to rest on her way to her
parents' home for birth, prince Siddharta
is born from the side. Nine dragons is spreading
water to wash Siddharta and Siddharta takes
seven steps that turned into lotus blossoms.
After seven steps he indicates the sky with
his right hand, and indicates the earth with
his left hand saying that he is the only one
Dignity all over the world.
The third scene is the Four Encounters. Siddharta
meets the old at the east gate, the sick at
the south gate, the dead at the west gate,
and the monk at a north gate. When Siddharta
became aware of suffering during his trips
to the four gates, upon seeing ageing, sickness,
death and the mendicant life, he decides to
be a monk.
The forth scene is Renunciation. In the Midnight
Siddharta left the palace riding a horse called
Kantaka. He has cut his hair and becomes a
monk. |
|
|
The
fifth scene is Asceticism for a period of six years
at mountain covered with snow.
The sixth scene is Resistance to Mara. Under a bo
tree he turned away numerous temptations to break
with his meditation and he submits the Devil Pasun.
At last he has enlightens and becomes Buddha.
The seventh scene is Sermon in the Deer Park. The
newly awakened Buddha delivered his first sermon
to five monks rolling a wheel, called cakra.
The last scene is the Buddha's entry into paranirvana.
Buddha died at the age of 79.
Composition, fluid lines, descriptions of figure,
brilliant color make this painting masterpiece of
the other Eight scenes from the life of Buddha.
This painting was painted in 1775, 51th year of
King Yeongjo. One of the painters is Yuseong who
is a famous monk painter. |
|
|
The portrait of Jajang
(Gyeongnam
local cultural heritage No.276) |
The
portrait of Jajang, a monk who establish Tongdosa
Temple . This portrait was in the Haijangbogak.
He sits on the hexagonal chair but he crossed
his leg. He holds a duster in left hand and
the tassel in right hand.
The background has two parts in two contrast
colors. Upper part is dark green, and lower
part is white mat.
As Haijangbogak was built in 1727 and the
portrait was painted in 1804, it is presumed
that there was another portrait of Jajang
before 1804.
The red and the green robes are in contrast
owing to the same chrome and the lines with
shade shows that this painting was painted
in late Joseon Dynasty. The impression on
face represents the dignity of the old monk.
The painter is monk Seongin and Gyehan. |
|
|
|
|
Siver Inlaid Incense Burner (Treasure No.334) |
| Four
circle bronze plates are attatched to the
body of this incense burner. On each plate
a letter in Sanskrit is inlaid and around
the letter the cintamani head pattern are
inlaid. Upper part and lower part of the stand
there are lotus pattern and the two imaginery
bird, cintamani head pattern, arabesque pattern.
Around the mouth there are arabesque pattern
and on the body the inscription 'Tongdosa
Sang' is carved. The elaborate inlay technique
and the color on the surface is characteristics. |
|
|
|
Bronze Ewer Inlaid with Silver
(Gyeongnam
local cultural heritage No.102) |
| This
bronze ewer is filled with clear water offered
to the Buddhist sanctuary. The spout on top
and the filling spout were restored. The patterns
inlaid in silver cover the whole surface of
the ewer. It has thin and long neck and the
main body is decorated with the vivid flying
dragon and arabesque patterns. The patterns
inlaid in silver are the treasure of the masterpiece
that shows the metal technology of Goryeo
Kingdom. |
|
|
|
|
Astronomical chart
(Gyeongnam
local cultural heritage No.111) |
| On
the round bronze plate a constellation is
carved elaborately. In the place of consellation
there remains a pearl which means that at
night due to the jewels the constellation
could be observed. In the middle of the back,
there remains mountain and pine tree pattern.
It is presumed that the mountain was near
Munsuam because Munsuam was the main dwelling
place of Seonhwaja, Buddhist priestess who
made this astronomical chart. Beside the landscape
there is an inscription. The bronze pedestal
of the chart also has an inscription. |
|
|
|
|
Vajracchedika illustration wood block
(Gyeongnam
local cultural heritage No.100) |
This
is a wood block that illustrates the content
of Vajracchedika. On both sides Scene of preaching
is incarved. Sakyamuni is surrounded by many
bodhisattva and in the front of them Subori,
disciple of Buddha, who has nimbus, ask for
sermon. Behind him there are several minister
and disciples, guardians.
Sakyamuni has a halo of head and that of body.
Above the head there is a roof among the beautiful
cloud of five colors. On the other side cloud
pattern fill the entire surface. The present
wood block consists of 127 plates and it was
carved in 1679. |
|
|
|
Avatamska Sutra (vol. 46) (Treasure No.757) |
| This
Avatamska Sutra has illustrations in gold.
The shaft of the sutra is made of birch and
it is painted by red lacquer. This illustrated
sutra is vol. 46 among the 80 volumes of Avatamska
Sutra. Due to he quality of paper and the
illustration, the style of the letter, this
illustration was made in 14th century. The
illustration is the chapter of novitiating
style(Bulsauibeobpum). Vairocana and Locana
is drawn and around Locana a lots of Buddhas
and bodhisattvas from other land are drawn
in the middle of cloud. Lots of jewel and
flowers fill up the whole surface. It has
the same constitution with wood block of Avatamska
Sutra in Goryeo Kingdom. |
|
|
|
| |
|
Hours and Admission Fees, Contact
Us |
|
Opening Hours |
March
to October / 09:00 - 18:00
(Ticketing till 17:30)
November to February /
09:00 - 17:00 (Ticketing till 16:30) |
|
Closed |
| Every
Tuesday / Lunar New Year (Seolnal) / Harvest Moon
Festival Holidays (Chuseok) |
|
The Buddhist Painting Exhibition hall |
The
forenoon 09:00 - 11:30
The afternoon 13:00 - 17:00
Restricted Admittance for 7 hours a day for better
conservation of the paintings. |
|
Admission Fees |
2,000
won / Adults
1,000 won / Junior |
|
| |
|
Map of the museum |
 |
|
Air Services |
From
Seoul To Busan (1 hour) To
Tongdosa (1 hour by bus)
To Ulsan (1 hour) To
Tongdosa (1 hour by bus)
To Daegu (1 hour) To
Tongdosa (1 and half hours by bus) |
|
Train Services |
From
Seoul To Busan (5 hour) To Tongdosa (40 min by bus)
To Gyeongju (4 hour) To Tongdosa (40 min by bus) |
|
Bus Services |
From
Seoul To Busan (5 hours) To Tongdosa (40 min by
bus)
To Ulsan (4 and half hours) To Tongdosa (40 min
by bus) |
|
Express |
To
Tongdosa (5 hours by bus : 09:00, 12:00, 15:00,
17:00, 23:30 )
To East Seoul (5 hours by bus : 08:20, 10:20, 12:50,
16:20, 23:20) |
|
| |
|
Information |
|
Address |
Tongdosa
Museum 583 Jisan-ri Habuk Yangsan Gyeongsangnam-do
626-861,
South Korea(zip:626-861) |
|
Tel |
82-55-382-1001
(Curatorial office)
82-55-384-0020 (Cultural center)
82-55-384-0010 (Traditional cultural office)2 |
|
Fax |
| 82-55-384-0030
(Curatorial office) |
|
E-mail |
| admin@tongdomuseum.or.kr |
|
 |
|
|
|
Tongdosa Temple Museum
