This paper analyzes the 1989 Korean film Why Did Bodhidharma Leave for the East? as a meditation on Zen Buddhist enlightenment. Through close reading of the film's three central characters — Master Hyegok, Ki Bong, and the orphan Hae Jin — the paper examines the tension between the inner spiritual world and the external world of attachment. Drawing on the traditional Zen "Ten Bulls" framework, the paper maps each character's spiritual progress and considers how earthly bonds, sacrifice, and the weight of karma prevent or delay the attainment of full enlightenment. The paper concludes by reflecting on whether any character truly reaches the final stage of the Ten Bulls.
The film Why Did Bodhidharma Leave for the East? is a profoundly artistic depiction of both inner spiritual belief and individual approaches toward enlightenment, as well as the external relationships that form between people. From this perspective, the film sustains an internal vs. external framework throughout, emphasizing different perspectives to underscore essential characteristics of its three main characters.
The narrative is relatively straightforward: in a Buddhist monastery, three characters of different ages study Buddhist teachings in order to reach enlightenment. Master Hyegok, the old teacher; Ki Bong, his disciple; and the orphan Hae Jin come together in this remote, isolated place to learn about achieving enlightenment. The relationships that form among these characters, as well as the inner struggles each faces in trying to reconcile their past and move beyond ordinary perception toward a deeper, enlightened life, are the film's central concern.
The film revolves around the figure of Master Hyegok, the Zen Buddhist master and teacher, who has come to believe that enlightenment can only be achieved through a total abandonment of the outside world and a complete focus on one's inner life. While the monastery exists within the real world, it is no longer an ordinary worldly space. As a place where enlightenment is the sole purpose of its inhabitants, a deliberate withdrawal from the surrounding world is visible in the actions and approaches of all three characters.
However, the clash between the monastic world — and, simultaneously, the inner world developing within each character — and the outside world is evident not only in the necessity of withdrawal, but also in the conflicts each inner world experiences with elements of the external world. It is precisely these conflicts that prevent the two younger disciples from being able to leave the outside world completely behind.
Each character remains attached to elements of the outside world, and this is strongly connected to the central idea of the film: that enlightenment cannot come easily, but requires genuine sacrifice from those who seek it. Ki Bong has abandoned his family and his blind mother in order to pursue enlightenment. While this might appear to be a selfish act — and it can, in many respects, be interpreted that way — Ki Bong suffers deeply for having left his loved ones and remains reluctant to fully commit to this path.
"Master's devotion, approaching death, and legacy"
"Ten Bulls framework mapped onto each character"
From this perspective, the master in the film does not reach the tenth phase, and one may reasonably doubt whether he has reached the ninth. One could argue that his teachings represent a meaningful gesture in this direction; however, it may equally be interpreted as his way of leaving something behind even if he has not fully achieved his ultimate objective.
You’re 49% through this paper. Sign up to read the remaining 2 sections.
Sign Up Now — Instant Access Already a member? Log inAlways verify citation format against your institution’s current style guide requirements.