Kyung-Ju is Korea's ancient cultural city, and was designated in 1979 by
UNESCO as one of the world's ten most important historical sites.
During the United Shilla Dynasty (668-935), Kyung-Ju was the capital.
Today, hundreds of historical remains bespeak the cultural and artistic
prosperity that characterized this era of Korean history.

One of the most exceptional reminders of the Shilla Dynasty is
"Sokkuram" a Buddhist temple built into the side of  Tohamsan (Toham
Mountain).  A historical gem, Sokkuram is reputed to house the very best
of Buddhist architecture in Korea.  High up, near the mountain's peak,
overlooking the East Sea, the great stone Buddha  sits on a pedestal to
receive the first rays of sunlight that befall this continent each
morning.

An adventure toward the highly lauded Sokkuram began at Pulguk Sa,
another of Korea's most beloved temples, at the base of Tohamsan.  It
was exceptionally peaceful at 8am on a cool January morn when ascent to
Sokkuram began.  Stonework along the 3.2 km path displayed consummate craftsmanship in concert with nature.  Dark gray diamond-shaped stones formed a naturally artistic wall that prevented excessive erosion.

Few hikers were about; silence and calm allowed nature to glorify
itself. The wind's powerful yet gentle breath was enticing leaves into
conversation while sunshine danced its lively dance, experimenting with
different entrances through the foilage.  Rustling about, unseen
creatures searched their land for food.  Now and then, a tiny stream of
sand trickled down the mountainside, like an hour glass;  this
"millenium mass" telling time in its own way.

Intermittent looks backward were rewarded with ever-changing views.
Temple rooves at Pulguk Sa became visible; a grand tree, touched by the
sun's magic wand, swelled with illumination; more mountains gradually
emerged in the distance. The basin where Shilla kings had ruled for
centuries 1300 years ago, appeared. Surrounded by an ancient, hallowed
land, one's imagination could be readily swept back to 751 when Pulguk
Sa and Sokkuram were built. Did those rulers walk this same path?  Did
they look down upon their kingdom all those years ago?  It's quite
possible; even today this view befits royalty.

After an hour's upward climb amid the trees, an opening signified
proximity to Sokkuram.  Over the precipice straight ahead, layers of
gentle mountain sang out an intoxicating visual harmony.  Nature, the
tireless conductor, was performing a symphony; moving its audience to
wonder and irrepressible appreciation for this production.  Behind the
orchestra of peaks was the East Sea.  A dazzling mass of sparkle and
bounce, it stretched from coast to horizon, there to lay down with the
sky.

Leaving this sight was not easy, but strains of  "Sokkuram" beckoned.  A
friendly path twisted and winded its way to the temple precinct.  Small
temple buildings were obvious but where was the Sokkuram?  A mineral
water fountain in front of the steps leading up, provided a clue.
Usually, streams or fountains are found before Buddhist temples to
symbolically cleanse humans' evil thoughts as they enter the area of
goodness and peace.  So, it would make sense that the structure that
seemed to be part of the mountain was the Sokkuram.

Approaching the entrance, it still looked relatively modest but
something in the air said, "This is it." Chanting was audible; all else
seemed to stand still.  Just inside the entrance, a woman was reading by
candlelight, chanting in a low tone.  In the next room, the antechamber,
were many Korean people lost in worship, chanting and bowing down onto
mats laid over a stone floor.  In front of them stood a monk beating
continually the hollow wooden ball, and beyond him, at the centre of a
dome-shaped stone chamber, sat magnificent Shakyamuni, Buddha of
Sokkuram.  Although grand in size (3.5m high), it did not intimidate.
Rather, this phenomenal work or art and symbol of spirituality, invited.
Exquisite carving had transformed the giant, white mass of stone into a
figure of gentleness and wisdom.  Candles in front of the seated Buddha
softened the figure even more.

To release one's stare from the beautiful Buddha was to be further
amazed.  On surrounding stone panels of the circular sanctum were carved
14 figures: four boddhisattvas and 10 disciples of Historical Buddha.
Perhaps Korea's favourite boddhisattva, the Goddess of Mercy, sat in a
place of honour, just behind the great Shakyamuni.  Engraved on the
rectangular passageway leading to the dome were four kings symbolizing
the four directions of heaven, whose job it was to keep the inner
sanctum free of evil.  Just outside that passageway, two muscular stone
guards with fierce faces and clenched fists maintained their post, also
determined to keep out unwelcome influences.  In the front antechamber
wall were four magnificently carved guardian saints, looking down upon
the worshipping visitors.

The aesthetic beauty of it all spoke of harmony and balance.  But beyond
the visual grandness of the Buddha, beyond the incomparable architecture
and artistry of this grotto, an undeniable aura pervaded.
People were giving praise to Buddha while surrounded by nature; within
the mountain itself.  The wind blew through the entrance way; another
reminder of nature's presence.  From this communion of nature,  humanity
and worship seemed to flow an intanglibe yet undeniable spiritual
essence.  There was nothing to do but stand, absorb, and give praise to
all that had gone on to create this incredible masterpiece.                                           February 15, 1998