This gwaebul features a single Maitreya Buddha wearing an ornate crown and holding a lotus stem in his hands. It was produced only five years later than The Shakyamuni Buddha Gwaebul at Jungnimsa Temple, the earliest among the surviving gwaebul paintings. However, it was produced at more than double the scale in order to better accommodate outdoor rituals. As a gwaebul created in the Maitreya faith tradition, which was popular in the Chungcheong-do region from early on, this painting provides significant material for studying the few surviving gwaebul depicting Maitreya Buddha. In this painting, Maitreya is portrayed with a halo around his head and another around his body standing with each foot resting on a lotus footstool. One notable characteristic is the meticulously decorated crown on top of his head. Six Nirmana Buddhas (transformation Buddhas) in different sizes can be seen in the center and at the top of the crown and along the protrusions on both sides. In between these Buddhas, various flowers, dragons, bonghwang (mythical birds), and wish-fulfilling jewels add splendor to the crown. Its edges are embellished with the faces of fifty Nirmana Buddhas. Maitreya is wearing a green scarf that falls down to his toes and a red skirt-like garment. He is adorned with accessories and long, colorful strings of beads. Above the head halo is a canopy in the shape of a green lotus pip wrapped in red petals. The inside of the body halo is filled with red lotus flowers and green lotus leaves, all of which are realistically delineated. These lotus flowers and leaves harmonize with the budding lotus stem and leaves held in Maitreya’s right hand. Five-colored auspicious energy fills the outside of a mandorla, which is surrounded by sixteen Nirmana Buddhas. The decorative thin blue upper border of this painting presents white cloud patterns, and two red ornamental silk strips with yellow cloud patterns are depicted hanging down on both sides of the upper border. On the lower edge below the image is an inscription recording the names of donors, people in charge of different tasks, and monk-painters. The inscription ends with a phrase stating that the Maitreya gwaebul painting was enshrined at Muryangsa Temple on Mansusan Mountain in the north of Myeongsan-hyeon in the sixth lunar month of the Jeongmyo year (1627), the seventh year of the Tianqi era. Four monk-painters participated in the production of this painting: Beopgyeong (as head monk-painter), Hyeyun, Inhak, and Huisang.