This paper examines the Dry-Lacquer Avalokiteśvara in Pensive Pose enshrined at Kirimsa Temple and dated to 1501, with the aim of identifying its historical context, stylistic features, and significance within the history of Korean Buddhist sculpture. A new reading of the ink inscription reveals that the statue was originally enshrined at Sŏsuam Hermitage on Mount Hamwŏl and was intended as an image of Avalokiteśvara of Naksan (Naksan Kwanŭm), the central deity of worship at that site. At least six donors participated in the commissioning of this image, with significant financial support from the yangban elite and the leadership of the monk Jihee, a figure known for his expertise in Hwaŏm (Huayan) teachings—so much so that the temple was referred to as “Hwaŏmsa.” The iconography reflects the widespread belief in Avalokiteśvara of Naksan, a popular cult at the time, and the statue was likely created as a protective deity invoked against maritime disasters in the Kyŏngsang region. This image is the only extant example among known pensive bodhisattva statues to be explicitly identified as “Naksan Avalokiteśvara,” underscoring its unique devotional and regional identity. Stylistically, the statue incorporates elements of the Ming-dynasty Tibetan style, which gained popularity in early Chosŏn sculpture. This influence is attributed to the visual culture of Ming cheng jia ge (明稱家曲), a Chinese Buddhist text accompanied by transformation tableaux that appear to have shaped contemporary sculptural forms. As a transitional piece bridging the 15th and 16th centuries, the statue serves as a critical datable work that illustrates shifts in bodhisattva iconography and style. Technical investigation using X-ray and 3D-CT scanning reveals that the fabrication method of this dry-lacquer image diverges from conventional Korean techniques. Instead of employing multiple layers of hemp cloth, a fiber-based paste appears to have been used, likely to reduce production time and cost. The Kirimsa Dry-Lacquer Avalokiteśvara represents one of the final examples of Korean dry-lacquer sculpture, which experienced a sharp decline thereafter, supplanted by large-scale wooden and clay images that dominated later Chosŏn Buddhist sculpture.
Jieun Kim (Mon,) studied this question.