45 DOAS : 02.12.2013

STARTED on the 16th of November 2013, I – Divvya Nirula, brought you “45 DAYS OF ART STORIES” the Below Post was first Published on 02.12.2013

Heritage and Treasure become Art

 How can a World Treasure that is one of the Gems of Buddhism be considered an artwork? The answer is in the 81,258 wooded blocks with 52 million characters, carved under the Goryeo Kingdom over a 16year period.

Collectively known as the TRIPITAKA KOREANA, this embodiment of technical, cultural and scholarly achievements is housed in the Haeinsa Buddhist Temple in South Korea. It is not only the largest and most comprehensive representation of the Chinese Buddhist Canon, but according to us here at The Nirula Family Company and Nirula Family Art Trust it is also art.


The uniformity in style, dimension and the precision of the script as well as the size of the 81,258 wooden blocks has led many to believe that this collection was carved and inscribed by one single master craftsman. Present day predictions and calculations suggest that if this body of work were to be replicated in its entirety, the best of the best would take 900 years in labour hours to achieve it. The fact that at the time of creation the work took only 16 years is a marvel, and hence we deem the Tripitaka Koreana as a great artwork.


Functioning in a multitude of spaces, the Tripitaka Koreana is simultaneously cultural artefact, historical scribe and spiritual refuge. This body of work represents a meditation manifested through a craft that allowed for canonization.

The word of the Buddha, inscribed for posterity is available for the seekers.

I ask – Are you one of them?


My Inspiration : This art story is about the 81,258 wooden blocks known as Tripitaka Koreana, housed in South Korea. They are collectively considered as not only a World Treasure, but are in fact the most comprehensive representation of the Chinese Buddhist Canon. As a Spiritualist, a Practicing Healer, Philologist, Art Historian and Student of Sanskrit, I found this then, and still do find it to be a fascinating body of canonisation, and cataloguing.



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