Korea Journal of Buddhist StudiesISSN:1598-0642(Print)불교학연구회

This study examines the original form and its changes of mural painting at the Hall of Paradise, Moo-Wee-Sa temple. In particular, this study focuses on changes in a relatively short period of time (46 years, from the construction of the hall of paradise to the renovation of the altar). The Hall of Paradise at Moo-Wee-Sa was located in an area severely affected by Japanese invasion, and might be related to Hyo-Ryoung-Dae-Gun and his colleagues' SooRyuk-Sa (1430). Its renovation (placing new Buddha statues and background mural paintings) might be considered as an effort to achieve an authentic of paradise, and local people supported it (1476).The background mural paintings behind a Buddha statue were painted in 1476 and imply some advances in style from that of Goryeo dynasty. There might be some influences from the Chinese Ming dynasty style. Considered to be painted around the same time, the mural painting of white-robed Gwan-Um, at the other side of the background mural painting, depicts a seeker for truth in practice instead of the Sun-Jae-Dong-Ja image that was typical in Goryeo dynasty style. By contrast, paintings on the side walls employed the traditional Ko-ryo dynasty style. The Amitabha mural painting made in 1476 therefore represents a new style that was continuously pursued throughout the Choseon dynasty, whereas paintings on the side walls were associated with the original form of the Hall of Paradise in Koryeo dynasty style. In conclusion, the Amitabha and white-robed Gwan-Um mural paintings formed a new standard style of Buddhist paintings in the Chosun dynasty.