The Painting of Avalokitesvara Bodhisattva of Unheungsa Temple was painted in 1730, by a group of monk painters led by Uigyeom, at the same time as two other paintings representing the Buddhas of the Three Ages, Three Bodhisattvas, and the King of Sweet Dew, housed in the same temple,. The monk painters who collaborated with Uigyeom for the creation of these paintings included Haengjong and Chaein. Aside from this Painting of Avalokitesvara Bodhisattva, Uigyeom also painted the Water-moon Avalokitesvara of Heungguksa Temple in Yeosu (1723, Treasure No. 1332) and the Painting of Water-moon Avalokitesvara in the collection of the Buddhist Museum of Korea (1730, Treasure No. 1204), to speak only of extant ones. He is also the author of the Wooden Seated Avalokitesvara Bodhisattva of Wonjeongsa Temple in Busan (Busan Tangible Cultural Heritage No. 47). The Painting of Avalokitesvara Bodhisattva of Unheungsa Temple portrays Avalokitesvara in the Potalaka Mountain. Avalokitesvara is seated in the so-called position of lalitasana with a kundika bottle, blue bird and two bamboo trees on either side of her, accompanied by Sudana. This painting is identical in composition and iconography to the Painting of Water-moon Avalokitesvara of Heungguksa Temple (1723), except for the inversion of left and right for the positions of the kundika bottle, bamboo trees and the blue bird, and the inclusion of the Dragon King and Dragon Maiden in the foreground, below Avalokitesvara. The design pattern on Avalokitesvara’s clothes is simpler as well. Meanwhile, in the way Avalokitesvara Bodhisattva is portrayed, this painting is highly reminiscent of the Water-moon Avalokitesvara painting in the collection of the Buddhist Museum of Korea (1730). Avalokitesvara Bodhisattva is shown, here, wearing a jewel crown with a standing Transformation Buddha. Her right hand rests on top of a rock, and her left hand on her left knee. Avalokitesvara is seated on a rock in lalitasana, but in a position slightly in departure from the classical lalitasana position. Sudana is shown standing with his hands gathered in a gesture of reverence, in the bottom left corner. In the bottom right corner, there is the Dragon Maiden holding a cintamani and the Dragon King holding a hol bar. This composition and iconography were inherited by portraits of Avalokitesvara Bodhisattva painted in subsequent eras, such as the Hanging Buddhist Painting in Gwaneumjeon Hall of Tongdosa Temple (1858), Painting of Avalokitesvara Bodhisattva of Unmunsa Temple (1868), Painting of Avalokitesvara Bodhisattva of Hyangnoam Hermitage (1869) and several Water-moon Avalokitesvara murals of the 18-19th centuries. The Painting of Avalokitesvara Bodhisattva of Unheungsa Temple is superior to other paintings of Uigyeom, on the same theme, in terms of the way Sudana, the Dragon King and Dragon Maiden are positioned and arranged. The facial features of Avalokitesvara are also more feminine in this painting than in others by Uigyeom. This painting, a great example of Uigyeom’s signature ink and light color style, is eminently serene in tone.