This painting is the earliest among the surviving gwaebul paintings and the sole example that depicts a solitary figure of a seated Shakyamuni Buddha. Its relatively small size and simple iconography with a solitary Buddha in the center reflects the early years of the use of a Buddhist painting normally hung inside a temple’s main hall as a gwaebul for outdoor rituals. In this painting, Shakyamuni Buddha sits on a lotus pedestal placed above a Buddhist altar with his right hand pointing at the ground to form a bhumisparsha (earth-touching) mudra, which symbolizes his triumph over evil. The large pupils in the eyes set in a narrow face creates an intense impression. The surfaces of the red outer robe covering his left and right shoulders and the red skirt-like garment are adorned with yellow lotus and scroll designs. Their hemlines feature bands of patterns, mainly colored blue. The mandorla consists of a body halo and a head halo. The insides of the halos are painted green, and their edges are decorated with red flame designs. The green interior of the body halo is embellished with designs of lotus flowers, peonies, and chrysanthemums. The upper part of the head halo is surrounded by five-colored beams of auspicious energy spreading like the ribs of a fan. The spaces above and below the beams are filled with clouds. The clouds in the upper portion of the painting appear to be heading downward while those in the middle section are soaring upward. The clouds in the lower portion seem to be supporting the lotus pedestal. The different depictions of these clouds serve to divide the composition. In the lower-center of the painting is a cartouche bearing an inscription relating when this gwaebul was produced, where it was enshrined, and who participated in its production. The inscription starts with “This Shakyamuni Buddha gwaebul was enshrined in the courtyard of [illegible] Temple on the seventh day of the eleventh lunar month of the Imsul year (1622), the third year of the Tianqi era.” This indicates that the gwaebul painting was created for an outdoor ritual held in the courtyard of the temple. Moreover, the Chinese characters corresponding to the place of enshrinement were covered in ink and new characters reading “Jungnim” (竹林) were written next to them. This suggests that the gwaebul was transferred to Jungnimsa Temple after it was produced. Among the people who took part in the production of this gwaebul are Sinsu, who assumed overall responsibility for ensuring that the project was conducted correctly, and the monk-painters Suin and Sinheon.