A Prayer at the Tip of a Brush 800 Years Ago Becomes a Treasure

Goryeo's "Five Hundred Arhats Painting" Created in a Time of National Crisis
"Portable Angbuilgu" and "Yuhang Seonsaeng Poetry Collection" Also Designated as Treasures

'Goryeo Five Hundred Arhats Painting'

A Goryeo-era painting, created over 800 years ago with the hope of overcoming national crises through the power of Buddha, will now be designated and managed as a national treasure.

The Cultural Heritage Administration announced on the 30th that four cultural assets, including the 'Goryeo Five Hundred Arhats Painting' and the 'portable angbuilgu,' have been designated as treasures.

The Five Hundred Arhats Painting is one of the 500-panel series believed to have been produced during the 13th century, when the Mongols invaded Goryeo. An Arhat refers to a practitioner who has attained enlightenment after hearing the teachings of Buddha.

Arhats, believed to possess supernatural powers, were regarded as protectors of the Buddhist law and beings who help all sentient beings enjoy blessings. It is presumed that this painting was created with the hope of overcoming the national crisis at that time.

The artwork depicts Won Sangju Jonja, one of the Five Hundred Arhats. The figure is shown sitting on a rock and looking up at a dragon, rendered with delicate brushstrokes and a masterful use of ink tones. The title at the top of the painting clearly identifies the depicted Arhat.

Records related to the painting's creation remain at the bottom, indicating that in 1235, a person named Kim Heein made a vow, and another individual named Lee Hyukcheom sponsored its production.

The Cultural Heritage Administration stated, "This work embodies the refined artistry and mystical religious sentiment characteristic of Goryeo Buddhist paintings," and added, "Its clear production date greatly enhances its value."

Top surface of the portable angbuilgu

The portable angbuilgu holds significant importance in the history of science. Angbuilgu refers to a sundial shaped like a cauldron gazing up at the sky. It is said that Jang Yeong-sil and others first created it in 1434 by royal command.

The artifact held by the Seoul Museum of History features a hemispherical, concave surface. At its center stands a sharp needle, with a compass attached beside it.

When exposed to sunlight, the shadow of the gnomon moves. The user can tell the time by observing which line the shadow falls on. The delicate and excellent craftsmanship also gives it significant value in the history of crafts.

The Cultural Heritage Administration explained, "The base is engraved with the words 'Year 2 of Yunghui,' indicating that Kang Moonsoo made it in 1908," and added, "It is the most modern sundial produced by the Jinju Kang clan, renowned for making sundials."

Yuhang Seonsaeng Poetry Collection

A poetry collection by a renowned literary figure and a Joseon-era Buddhist statue have also been designated as treasures.

The 'Yuhang Seonsaeng Poetry Collection,' written by Han Soo (1333-1384), a civil official and literary scholar from the late Goryeo period, is considered an important resource for understanding Han Soo's life, philosophy, scholarship, and character.

The preface was written by Kwon Geun (1352-1409), a civil official who served as Chief State Councilor and Chief Inspector during the early Joseon period, and the epitaph composed by Lee Saek (1328-1396) is also included. An epitaph is an inscription carved with the name, family, and achievements of the deceased, which is then buried in the tomb.

The Cultural Heritage Administration noted, "This is a woodblock print first published in 1400, and only three copies of the first edition of this version exist both domestically and abroad," adding, "It is complete in its composition, with no missing content."

Sejong Biamsa Temple Small Amitabha Buddha Statue Seated

The 'Sejong Biamsa Temple Small Amitabha Buddha Statue Seated,' believed to have been created around the mid-16th century, is notable for its production method: the outline was formed from wood, with details completed using a small amount of clay.

As one of the very few surviving 16th-century Buddhist statues, it is of great value for the study of Buddhist sculpture history.

This content was produced with the assistance of AI translation services.