Seoyugi-do – “Journey to the West” Murals: 서유기도

Introduction

In the Yonghwa-jeon Hall at Tongdosa Temple in Yangsan, Gyeongsangnam-do, there is a collection of over 30 paintings adorning its interior walls. Of these paintings, it’s the seven larger paintings that adorn the east and west walls that stand out for their originality and age. According to “A Study of the Journey to the West Painting in Yonghwa-jeon Hall at Tongdosa Temple” by Choi Mina, these seven paintings are dedicated to the “Journey to the West” (西遊記圖), which are a collection of stories written in the 16th century and traditionally attributed to Wu Cheng’en (吳承恩, c. 1500–1582). Originally, these tales were passed down as Chinese folk legends before being compiled by Wu Cheng’en during the Ming Dynasty (1368–1644).

“Journey to the West” is a collection of stories based on historical facts that took place during the Tang Dynasty (618 – 907 A.D.) under the rule of Emperor Taizong of Tang (626 – 649 A.D.). These stories, which number 100 chapters in total, chronicle the life of the monk Xuanzang (602-664 A.D.), who is known as Hyeonjang in Korean. Xuanzang went on a 16-year journey to India to acquire Buddhist scriptures.

In Korean, “Journey to the West” (and their illustrations) are known as “Seoyugi-do – 서유기도.” Some of the earliest examples of the “Journey to the West” iconography in Korea can be found in the reliefs on the “Ten-story Stone Pagoda from Gyeongcheonsa Temple Site, Gaeseong” (1348) and the “Ten-story Stone Pagoda at Wongaksa Temple Site, Seoul” (1467). As for murals, well, this is where the Yonghwa-jeon Hall at Tongdosa Temple comes in.

The Yonghwa-jeon Hall at Tongdosa Temple

The murals housed inside the Yonghwa-jeon Hall at Tongdosa Temple were first created in 1758, when the Yonghwa-jeon Hall was rebuilt after a devastating fire in the middle section of the temple grounds. This makes them, arguably, the oldest paintings still in existence depicting the “Journey to the West” in Korea. As for what they’re meant to symbolize, they’re meant to symbolize the Buddhist teaching that through hardship one attains the principles of Buddhism.

Inside the Yonghwa-jeon Hall, and looking first towards the east interior wall, you’ll find a central mural (A-2) that depicts Chapter 12. The inscription for this mural is entitled “Xuanzang holding a grand water and land assembly” (玄奘秉誠建大會).

This mural depicts the monk Xuanzang conducing a Water and Land Ritual outdoors. At the centre of the image, and underneath a four-pillared canopy, is a two-tiered altar. On the upper tier, you’ll find Amita-bul (The Buddha of the Western Paradise) seated on a lotus pedestal and being joined by two standing Buddha images with their hands clasped in prayer. In front of this triad, there are offerings. And on the lower tier of the altar, Seokgamoni-bul (The Historical Buddha) stands on a small pedestal with his right hand lowered. Bowls are filled with offerings and candles are placed before him.

Hanging from both sides of the canopy are two long banners with writing on them. They read:

“Namo Pure Dharma-body Birojana-bul [The Buddha of Cosmic Energy] – 南無淸淨法身毘盧遮那佛”

“Namo Perfect Reward-body Nosana-bul [Perfect Body Buddha] – 南無圓滿報身盧舍那佛”

“Namo Thousand-fold Transformation-body Seokgamoni-bul [The Historical Buddha] – 南無千百億化身釋迦牟尼佛”

Surrounding the canopy and altar, you’ll see monks performing the Water and Land Ritual. They are striking instruments like drums, cymbals, gongs, and temple bells. Below these four images to the right and left, you’ll find a procession of monks and women with their hands clasped in prayer, as they approach the altar. The leading figure is standing on what looks like a dragon rug, which is symbolic of his high rank. The senior monk in the procession appears to be wearing a crown with a nimbus surrounding it, which suggests that he’s probably Xuanzang, who is conducting the ritual.

To the left of this central panel is a mural (A-1) that depicts Chapter 94 from “Journey to the West.” This mural is entitled “A journey embracing emptiness, desire, and joy” (一娙空懷情慾喜圖).

In this mural, you’ll find the interior of a building. At the centre, you’ll find an individual standing atop a circular pedestal. This central image is joined on both sides by two figures holding large fans. Next to them are two armed figures with swords drawn. In front of the central figure, there’s a small table that holds a ritual bottle and tray with a cup. Beside this table is a chest. There is also a kneeling figure in the mural. This kneeling figure faces the central figure, and the kneeling figure has both of his hands raised in a gesture of supplication.

And to the right of the central mural on the eastern interior wall, you’ll find a mural (A-3) that depicts Chapter 87, which is entitled “Fengxian County’s drought ends by heavenly rain” (鳳仙郡冒天止雨).

In this mural, you find that a group of figures have congregated inside a building. The building’s roof bears the inscription “Heavenly Spirit Hall” (Yeongso-jeon, 靈霄殿) on it. Inside sits a figure wearing an imperial crown. On either side of this central image stands armed guards holding parasols and weapons. And behind the right pillar, you find three figures behind a curtain with one of them kneeling.

This location is thought to be the Celestial Palace, where the Jade Emperor (玉皇上帝) resides. With this in mind, the seated figure is that of the Jade Emperor, while the small figure depicted out in front kneeling in the grass appears to represent Sun Wukong having ascended to heaven. The left portion of the mural is occupied with a large pine tree.

On the west interior wall, you’ll find four additional murals dedicated to the “Journey to the West.” In the centre, there are two murals (B-2ab) that depict Chapter 11, which tells the story of the official Xiao Yu.

More specifically, these paintings are divided into two, but they’re grouped together as one. There’s painting B-2a and B-2b. In the painting B-2a, you’ll find a group of monks standing at the edge of a cliff. All of those gathered are facing leftward. They represent the large gathering of monks who have been selected from across the nation to conduct the Water Land Ritual (Suryukjae).

As for painting B-2b, there’s a group gathered together and facing to the right. There’s a folding screen behind them. Above the group of individuals, there are three parasols. The individuals have long beards, and they are shown talking. These individuals are thought to be Wei Zheng, Xiao Yu, and Zhang Dowon, who, under the order of Emperor Taizong of Tang, are selecting eminent monks to preside over the Water and Land Ritual.

The mural to the left (B-3) on the west wall is dedicated to Chapter 84. The inscription for this mural is entitled “The Perfect Great Awakening” (難滅加持圓大覺). This mural depicts the monk Xuanzang and his group hiding in a box to avoid detection by the king of the Miefo Kingdom, who is killing monks.

This mural depicts an indoor scene where the central figure, who is wearing a traditional official’s winged cap (ikseongwan), is flanked by retainers holding fans. In front of this central figure kneels a civil servant that’s reporting news. To the left of this civil servant are two military officers. These officers are talking. And on the right side of the mural, there are two more retainers. In the lower-left corner of the mural, you’ll find a figure that holds the reins of a horse. And beside him, there sits a chest bound with rope.

And on the right interior wall to the west, you’ll find a mural (B-1) dedicated to Chapter 81 from “Journey to the West.” This mural comes with the neighbouring inscription that reads “Three followers seeking their master in the Black Pine Forest” (黑松林四衆尋師). It’s here where Sun Wukong transforms into a three-headed six-armed monster to rescue the monk Xuanzang, who was captured by demons.

In the mural, two figures are depicted kneeling, with both hands raised inside their sleeves. In front of them is a monster with three heads and six arms. This monster to the right is believed to be Sun Wukong in disguise. The two kneeling figures to the left are believed to be Zhu Bajie and Sha Wujing, who, in “Journey to the West,” are frightened by Sun Wukong’s appearance as they are searching for sutras.

Conclusion

In total, the seven paintings inside the Yonghwa-jeon Hall’s east and west walls depict chapters 11, 12, 81, 84, 87, and 94. The central images are dedicated to chapters 11 and 12, which emphasizes their importance in this collection of seven paintings.

So what is their connection to the Yonghwa-jeon Hall, which typically houses an image dedicated to Mireuk-bul (The Future Buddha)? Mireuk-bul is meant to attain enlightenment under the Yonghwa (Dragon Flower Tree). Mireuk-bul will save sentient beings in the future. This aligns with the purpose of the Water and Land Ritual, which is being depicted in the Chapter 12 mural inside the Yonghwa-jeon Hall. This ritual is meant to help all souls attain rebirth. And the six additional murals are there to emphasize the hardship that often takes place in one’s lifetime.