This study examines the visual representation and symbolism of Buddhist rituals in the Illustration of Maitreya’s Descent (Bianxiang 變相圖), painted in 1294 by I Sŏng, a court scribe (Munhan-taejo, 文翰待詔) of the Koryŏ dynasty. Moving beyond a mere illustration of scriptural content, this paper argues, the Illustration of Maitreya’s Descent constitutes a Buddhist narrative painting (Pulgyo sŏrhwado 佛敎說話圖) characterized by a complex narrative structure. By vertically aligning an offering altar, groups of offering figures, the Golden Precious Pagoda (Hwanggŭm-pot’ap), and the scene of Śakra (Che-sŏk-ch’ŏn) offering the saṃghāṭī (monastic robe) to Maitreya, the painting’s central axis represents the pinnacle of the ritualistic Pyŏnsang genre that embodies the actual progression of Buddhist spiritual practices and ceremonies.The offering altar and figures at the bottom of the painting visualize the commencement of the ritual, while the Golden Precious Pagoda in the middle serves as Mount Sumeru (Sumi-san) reaching the Trāyastriṃśa Heaven (Tori-ch’ŏn), mediating the spiritual ascent of sentient beings toward the Maitreya Pure Land. In particular, the scene of Śakra offering the saṃghāṭī to Maitreya can interpret as a pivotal representation of royal sacralization, fusing the Koryŏ custom of kings presenting monastic robes to eminent monks with Śakra worship, within the contemporary revival of the Pŏpsang School.This study further identifies I Sŏng’s painting as a practical “Hanging Ritual Painting” (Hyŏn’gwae-t’aengsang 懸掛幀像) for Buddhist rituals. Ultimately, it seeks to provide a comprehensive understanding of the production background and multifaceted functions of Koryŏ Buddhist paintings by visually substantiating the connection between Buddhist rituals and the legitimation of royal authority.
Sang-soo Yoo (Tue,) studied this question.