부산대학교 도서관

In the late 18th century Joseon, Ksitigarbha faith, which embraces the souls of the dead and the desire for the aftermath, was overthrown by the people in a nationwide effort to overcome the damage caused by large and small wars. Also, people's faith in the ancestor's faith and the heavenly people praying for the welfare of the world and the future were spread widely. As a result, Sanshingak, Chilseonggak, Myeongbujeon and so on were found intemples, especially Myeongbujeon.Visiting a temple built or repaired in Joseon era, there is usually Myeongbujeon, and if there is no current temple, "Yeondeungsa Temple Sajeokgi" records that there are temples and monks, and there are no places where Ten Kings and Myeongbujeon are not located. There is Myeongbujeon in almost all the temples of Joseon era. In other words, until Goryeo era, the faith of Ksitigarbha Bodhisattva or Ten Kings, which was formed around a particular denomination, became common to all temples regardless of denomination, with the main axis of Myeongbujeon in Joseon era. As Myeongbujeon became more popular, the demand of Ksitigarbha Bodhisattva paintings and Ksitigarbha Bodhisattva paintings, whichare the main statue of Myeongbujeon, increased.Therefore, Myeongbu iconography, which was made in the late Joseon era, has been studied extensively, and in the pictures of the Ten Kings that have been studied so far, the study has been divided into early Joseon period and later period.Thus, this study attempts to briefly explain the backgrounds of Soui scriptures, the history of Kirimsa Temple and the composition of the pictures of the Ten Kings in Kirimsa Temple, which are typical of Pictures of the Ten Kings, and discuss the Ten Kings in Kirimsa Temple, which is estimated to have been produced in the late 18th century as a stand‐alone work.Pictures of the Ten Kings in Kirimsa Temple are found in the Kirimsa Temple Seongbo Museum, which is said to have been built by monk Gwangyu in the 12th year of Shilla Seondeok in Shilla era. In Myeongbujeon there are pictures of Ten Kings and Ksitigarbha. As pictures of the Ten Kings in Kirimsa Temple are kept in perfect condition and the picture record is relatively well preserved, it can be seen that the purpose of the pictures of the Ten Kings, contributors and the painter monks. Although the age of production is not recorded, the exact age is unknown, but the iconography is the closest match to the Pictures of the Ten Kings in Tongdosa Temple of Ten Kings, Onyang Folk Museum. This study attempts to estimate the concrete age of production by analyzing the picture record on Kirimsa Temple of Ten Kings and discuss about Buddhist art historical significance of Kirimsa Temple.