The grotto was built with white granite stone on the mid-slope of Tohamsan Mountain. The main Buddha placed inside the grotto is surrounded by a wall inscribed with 39 images including those of bodhisattvas, disciples, guardian deities, and Heavenly Kings. A path links the round main chamber of the grotto with
the rectangular front chamber. About 360 flat stones cover the dome-shaped ceiling, the likes of which cannot be found elsewhere in the world. Standing on each side of the rectangular front chamber are four images of heavenly guardians. Each side of the wall of the entrance is engraved with guardian deities. Each side of the walls of the path leading to the main chamber contains two images of the Four Heavenly Kings.
An octagonal stone column stands on each side of the entrance to the main chamber. The seated statue of the Main Buddha is placed a little behind the center of the round-shaped main chamber. Two images of heavenly guardians, two images of bodhisattvas, and ten images of Arhats fill the walls of both sides of the entrance. Placed right behind the Main Buddha is an image of the eleven-faced Avalokitesvara Bodhisattvas.
The images found inside this grotto are first-rate sculptural masterpieces. The image of the Main Buddha suggests advanced sculptural skill and near-perfect realistic expression. The image of the eleven-faced Avalokitesvara Bodhisattvas gives the impression of flamboyance. The images of the guardian deities, Four Heavenly Kings, and bodhisattvas display gallantry, dignity, and gracefulness, respectively. The images of Arhats are uniquely portrayed.
The Gupta-style Main Buddha statue placed in the main chamber is said to be an object of sublime esthetic quality. One feels the sublime mind deep inside his heart from the quiet cross-legged stance, the slumberous eyes, the gentle eyebrows, the middle of the forehead exuding wisdom, and the long ears.
Made during a prosperous period of the Silla Dynasty (57 BC-935 AD), this grotto is said to be a first-rate masterpiece. It was a product made by religious artists with architectural and geometric skills.
The grotto is preserved as a national treasure (National Treasure No. 24). Along with Bulguksa Temple, it was registered with UNESCO as a world cultural heritage in December 1995.
The grotto facing the East Sea in a location deep inside Tohamsan Mountain in Gyeongju near the mountain top is known for its advanced sculptural skill and creative structure.
Containing a total of 39 Buddha and bodhisattva images inside the white marble space, it is composed of the main chamber and the front chamber. The two chambers are linked through a path.
The rectangular front chamber contains images of eight supernatural guardians and guardian deities. The round-shaped main chamber, which is linked with the front chamber through a path whose wall is inscribed with the images of the Four Heavenly Kings, contains the statue of the Main Buddha. The following images are inscribed symmetrically on the wall of each side extending from the entrance: Brahman, Indra, Samantadhadra Bodhisattva, Manjusri Bodhisattva, and the ten principal disciples of Shakyamuni.
Part of Da-Tang Xiyuji (a narration of Xuan Zang's 17-year-long journey to Central Asia and India) written by Monk Xuanzang of (602-664) of the Tang Dynasty of China says, "The Temple of Enlightenment was set up on the very place where Shakyamuni obtained his enlightenment. A statue of Buddha, who obtained his enlightenment, was there. He sat facing the east, with his left foot resting on his right foot, his left hand placed on the inside of his thigh, and his right hand hanging down. The pedestal where the Main Buddha sits comes to 4 chi 2 cun in height and 1 zhang 2 chi 5 cun in width. The statue measures 1 zhang 1 chi 5 cun in height, with the width between the knees measuring 8 chi 8 cun and the shoulder width measuring 6 chi 2 cun." Since the Buddha statue that the monk saw does not exist, and said measurements coincide with those of the Main Buddha in Seokguram Grotto, it is suspected to be what he refers to in his narration.
Seated at the center of the round-shaped main chamber of the grotto, with the dome-shaped ceiling supposedly symbolizing the celestial body, is the 350 cm-high imposing figure of Shakyamuni with a genial facial expression, facing the East Sea.
His face looks alive and the dynamically portrayed wrinkles of the robe hung only on the left shoulder add to the overall liveliness of the statue. He has slumberous eyes as if he is in meditation. His face shows dignity but wears a gentle smile. His left hand indicates the gesture of dhyana mudra. His right hand is placed on the lap with the forefinger pointing to the bottom, a gesture of subjugating demons.
Such an image is the image of one having attained wisdom, i.e., one who has obtained victory by driving away demons’ obstructions and temptations.
The niche points to a mid-point between Earth and Heaven. It is associated with bodhisattvas as those between the Buddha and ordinary people. The image of Buddha Maitreya lends a sense of stability with the triangular layout between the right shoulder, wrist, and right knee. The curve made by its upright knees, arm put aslant on the lap, and face bent forward gives the impression of motion.
The images of the eight attendant deities protecting Buddha are made on the wall of the front chamber. The pair of guardian deities in skirts are portrayed as brave ones with well-developed upper-body muscles.
Visitors are attracted to the exquisite figure of the image of the Eleven-Faced Avalokitesvara Bodhisattva right behind the Main Buddha statue in the main chamber.
The statue exudes an atmosphere of elaborateness and maturity. Its face displays a gentle smile. The gorgeous-looking head adornment, the naturally flowing robe, and the exquisitely portrayed fingers create a unique atmosphere.
Seokguram Grotto, which was made in the mid-8th century during a golden period of the culture of the Unified Silla, shows that the sculptors were those who understood Buddhism deeply. The masterpiece was built based on advanced geometric, architectural, and esthetic sense. One feels magnanimity and sublimity from the images there amid the well-balanced ratio between said factors.
The grotto is a structure portraying the moment Shakyamuni attained enlightenment with architectural and sculptural skills. The images look full of energy, and they are portrayed naturally with first-rate artistic skills without a trace of artificial techniques. By attaining enlightenment, Shakyamuni becomes a metaphysical figure Buddha, with the mundane world becoming a realm or a sphere (dhatu) of the Dharma or Absolute Reality.
