This unusual painting depicts two important Buddhist deities standing side by side: the Buddha Amitabha, who presides over the Western Paradise, and the bodhisattva Kshitigarbha, who rescues souls reborn in hell. The Buddha is depicted frontally, although his right foot is turned slightly to the proper right. Both of his hands are shown with the thumb touching the middle finger. This teaching mudra is common in depictions of the Buddha Amitabha. The bodhisattva standing beside him is shown in a somewhat more dynamic pose. His lower body is turned to the proper right, and the upper body is twisted slightly to the left to face the front. The figure holds a staff with both hands. This posture is similar to the depiction of Kshitigarbha in a painting at Zendoji 善導寺 in Japan, except for the shape of the bodhisattva’s head.[1]

This is the only known illustration of this iconography in Korea. In fact, it is not found elsewhere in East Asia. Thus, it is rather difficult to understand the inspiration and associations of the image. It may be useful to look at paintings with other figural pairs, such as the bodhisattvas Avalokiteshvara and Kshitigarbha, of which three Goryeo 고려 高麗 examples are currently known.[2] Some scholars believe that this iconography originated from depictions of the Bodhisattva of Radiating Light (Banggwang bosal 放光菩薩) found at the Chinese cave temples at Dunhuang 敦煌 and Dazu 大足. However, no textual evidence or proof of actual worship of the bodhisattvas can be found in Goryeo 고려 高麗 Korea. Rather, it seems more likely that the paintings were influenced by the belief in malbeop 말법 末法 (i.e., the decline of the Buddha’s teachings). It is highly likely that these two bodhisattvas were chosen because Kshitigarbha saves souls from suffering in hell, and Avalokiteshvara brings benefits in this life and promises salvation in the next.

The present work showing Amitabha and Kshitigarbha may also represent a devout wish to be delivered and reborn in paradise like the paintings of bodhisattvas Avalokiteshvara and Kshitigarbha. It can be dated to the late fourteenth century based upon the square shapes of the heads of the two figures, the less refined use of color, and the decorative patterns. It is especially invaluable since it is a unique example in East Asian Buddhism that reflects the religious practice of the Goryeo 고려 高麗 people.

—Chung Woothak, Professor Emeritus, Dongguk University, Seoul

Notes:
[1] For images of the Zendoji 善導寺 painting, see Kikutake Junichi 菊竹淳一 and Chung Woothak 鄭于澤, eds., Kōrai jidai no butsuga 高麗時代の仏画 [The Buddhist paintings of Koryo Dynasty] (Seoul: Sigongsa, 2000), 215–17, pl. 101.

[2] For two of the three images of the paintings, see Kikutake Junichi 菊竹淳一 and Chung Woothak 鄭于澤, eds., Kōrai jidai no butsuga 高麗時代の仏画 [The Buddhist paintings of Koryo Dynasty] (Seoul: Sigongsa, 2000), 252, pl. 119 (Saifukuji 西福寺), 254–57, pl. 120 (Minami Hokkeji 南法華寺).