Two Joseon-Era Buddhist Paintings, Once Missing, Repatriated from Japan

Repatriation of Yeongsanhoesangdo and Samjang Bosaldo
Donated by Japanese Collector

Two Buddhist paintings from Yongyeonsa Temple in Dalseong, Daegu-the Yeongsanhoesangdo (a painting depicting Sakyamuni preaching at Vulture Peak) and the Samjang Bosaldo (a painting of bodhisattvas presiding over heaven, earth, and the underworld)-that had been taken to Japan have returned to Korea.

Yongyeonsa Samjang Bosaldo (1744). Provided by the Jogye Order of Korean Buddhism

According to the Jogye Order of Korean Buddhism, the two paintings, which had been enshrined in the Geungnakjeon Hall of Yongyeonsa Temple, were stolen on September 30, 1998, and their whereabouts remained unknown until earlier this year. At that time, a collector in Japan, who had inherited the paintings from his father, expressed his intention to donate them to the Jogye Order after realizing they were stolen property. A representative from the Jogye Order visited Japan in July to verify the authenticity of the paintings, and they were subsequently brought back to Korea on August 6.

During the repatriation process, the Jogye Order determined that the Yeongsanhoesangdo from Yongyeonsa Temple was painted in 1731 by Monk Seoljam. They stated that Monk Seoljam’s distinctive style, which differs from the styles of Monk Uigyeom and Monk Imhan-both popular in the early 18th century-was clearly evident. It was also confirmed that Monk Pogun, Monk Segwan, and Monk Seolsim, who were active at Tongdosa, Jikjisa, and Mihwangsa Temples, participated in the work. With the involvement of many eminent monks of the era, the painting is considered to have significant historical value in Buddhist art, and the Jogye Order estimates that it holds the status of a national treasure or cultural asset.

The Samjang Bosaldo is known to have been created in 1744 by Monk Sutan. It is evaluated as having inherited the style and format of the Samjang Bosaldo from Donghwasa Temple, painted by Monk Chaejun, a disciple of Monk Uigyun. A notable feature is the variation in the depiction of the Celestial Bodhisattva, which enhances the overall completeness of the work. As a Buddhist painting that reflects the style of the Uigyun school, which flourished in the early 18th century, it is estimated to be of national cultural heritage value.

Both paintings are currently housed at the Buddhist Cultural Heritage Preservation Center. Due to their poor condition, preservation treatment and further research on the paintings are planned.

This content was produced with the assistance of AI translation services.