2. Gaheoru Pavilion of Daeheungsa Temple

[Man]
The Gaheoru Pavilion of Daeheungsa Temple is located at the entrance of Cheonbuljeon Hall. This building has a unique threshold, which is slightly elevated with a curved shape rather than being straight. This threshold implies many meanings. As you can tell from the name Gaheoru Pavilion, this building is a pavilion. A pavilion refers to a building with an empty space on the second floor. But Gaheoru Pavilion has no second floor. Instead of having a space on the second floor, the threshold was raised from the ground to indicate that it was a pavilion.
The signboard of Gaheoru Pavilion was written in the calligraphy style of Changam Lee Samman, a representative calligrapher of the Honam area. Changam was a calligrapher representing the Honam region in the late Joseon Dynasty, and who established his fame by studying calligraphy on his own. Although he did not make it to the center, he learned and continued to learn the genuine Korean calligraphy style of Dongguk Jinche, which was developed during the independent national movement in the late Joseon Dynasty, to create his own handwriting, Changamche. Changam learned the essence of Dongguk Jinche and created Changamche through the handwriting of Wongyo Lee Gwang-sa. The handwriting of Changam, who was good at cursive script, is considered to be natural, friendly, and innocent.

[Woman]
Changam was known as one of the three most famous calligraphers of the late Joseon Dynasty along with Chusa Kim Jeong-hui and Nuljin Jo Gwang-jin, but not many people now know about him. This is partly because Chusa Kim Jeong-hui, who lived in the same era, made too great an achievement, but it was also due to Changam's stubbornness that he did not seek government office or fame, as he lived in seclusion and devoted himself to writing. Still, there is an anecdote about him and Chusa Kim Jung-hui that has been passed down.

[Man 1]
"I heard that Chusa Kim Jung-hui will be passing by today. Why don't we show him Changam's handwriting?”

[Man 2]
“Alright. Certainly, his handwriting is a match for Chusa Kim Jung-hui."

[Man 1]
"That must be Chusa over there. Let's go meet him"

[Man 2]
"How are they? Mr. Chusa. Isn't Changam's handwriting great?"

[Chusa Kim Jung-hui]
"Hmm, he could make a living with his handwriting in the countryside.”

[Man 2]
“What... excuse me?”

[Woman]
When Changam's students heard the news, they tried to gang up and beat up Chusa on behalf of their humiliated teacher, but Changam cut them off and stopped them. Nine years later, Chusa, who was returning from exile in Jeju Island, visited Changam's house.

[Chusa Kim Jung-hui]
“Anybody here?”

[Servant]
“How can I help you, sir?”

[Chusa Kim Jung-hui]
“Is this the place where Mr. Changam lives?”

[Servant]
“Yes, sir... it is, but Mr. Changam is not here.”

[Chusa Kim Jung-hui]
“Has he gone somewhere?”

[Servant]
“It's not that... he has passed away. That was several years ago.”

[Chusa Kim Jung-hui]
“Wh... what?”

[Woman]
Changam had already passed away. In response, Chusa wrote the following tombstone epitaph, titled "Tomb of Master Calligrapher Changam in Wansan”, reading,

[Chusa Kim Jung-hui]
"As here lies a virtuous and magnificent calligrapher who dedicated his life to writing, no descendants shall dare to deface this tomb.”

[Woman]
The writing on the plaque, written by Changam, is neat and tidy. Compared to the plaque of Wongyo Lee Gwang-sa in the Temple in Cheonbuljeon Hall located beyond the Gaheoru Pavilion, it is characterized by contrast. Changam pursued harmony with the writings of Cheonbuljeon Hall through the neat and tidy writing of Gaheoru Pavilion.