This is one of the three Buddhist statues housed in Daeungjeon Hall of Jijangam Hermitage in Seoul (Changsin-dong, Jongno-gu), representing the Buddha triad (Three Bodies of Buddha). This mid-size Wooden Seated Vairocana Buddha, 117.5cm in height, sits in the middle in the row of three Buddhas, placed next to each other, and is in a decent state of preservation. The statue is said to have been housed in Jijangam Hermitage, in 1924 when the hermitage was rebuilt by the monk Kang Jae-hui. Inside the statue, a prayer text written in red on a piece of blue silk cloth has been discovered. According to this prayer text, the Vairocana Buddha statue was originally housed in Jainsuyangsa Temple, a temple used during the Joseon Dynasty by women of the royal family when they went on a spiritual retreat. According to the same prayer text, Jangyeol, Queen Consort to King Gwanghaegun, sponsored the creation of eleven Buddhist paintings and sculptures, all at the same time, to pray for the rebirth in Paradise of her husband, the crown prince, the crown princess, herself, her late parents and other deceased princes and princesses. The Vairocana Buddha of Jijangam is the only known surviving example of the eleven statues created at this time. In the creation of this Buddhist statue, thirteen monk sculptors, including Hyeonjin, Eungwon, Suyeon, Okmyeong, Beopryeong, Myeongeun, Cheongheo, Seongin, Bohui, Ingyun, Gyeonghyeon, Jisu, and Taegam, and four metalworkers, including Seongok, Seungil, Milyeon and Uiin. The project was supervised by a prominent senior monk named Byeogam. All those who are listed as participants of this sculpting project were renowned monk sculptors of the 17th century, belonging to various schools of Buddhist sculpture that existed then; a measure of the importance and prestige of Jainsuyangsa Temple, this temple frequented by Joseon’s royal women. The Vairocana statue of Jijangam Hermitage has a candid face, which at the same time exudes authority. The back is slightly bent forward, and the drapery is depicted with softness and in a highly natural and lively manner which also keeps the feeling of volume alive. These facial features evoke those of other Buddhist statues, in whose creation Hyeonjin and Suyeon participated as head sculptors. Meanwhile, in terms of bodily details and treatment of drapery, this statue shows similarities with sculptures by Eungwon and Ingyun. Vairocana Buddha holds his hands in the vajra mudra, covering the fisted left hand with the right hand. This mudra first appeared in Buddhist statues during the 17th century. The Clay Vairocana Buddha at Daeungjeon Hall of Beopjusa Temple (1624) by Hyeonjin and the Wooden Vairocana Buddha at Daeungjeon Hall of Hwaeomsa Temple in Gurye, created by Cheongheon, in a style echoing the latter’s style are two of the examples in which Buddha assumes a similar hand posture. This particular style of mudra is, therefore, a signature detail of works by Hyeonjin and his followers. This statue is of great significance in that it was created under the direct patronage of Queen Jangyeol and that it is a collaborative work of major Joseon monk sculptors of the 17th century.