November 14, 2025. A striking 18th-century Korean Buddhist painting known as the Ten Kings (Siwangdo) has been officially returned to Sinheungsa Temple in Sokcho, Gangwon Province, after spending 71 years in the United States. According to the Overseas Korean Cultural Heritage Foundation, the artwork was taken out of Korea in 1954, during the U.S. military administration in the region.
At a press conference held at the KGIT Centre in Sangam-dong, Mapo-gu, on November 14, Lee Sang-rae, chair of the Sokcho Cultural Heritage Restoration Committee, announced: “We are delighted that the Ten Kings painting has returned to its original home.”
Max Hollein, Director and CEO of the Met, commented that “the return of the Ten Kings painting is the result of joint efforts” and reaffirmed the museum’s commitment to “fostering understanding of Korean art through collaboration.”
Background & Significance The painting, titled The Tenth King of the Five Paths Turning the Wheel, was created in 1798 (the 22nd year of King Jeongjo of the Joseon Dynasty) and originally hung in the Myeongbujeon Hall of Sinheungsa. It measures approximately 91.4 cm wide and 116.8 cm high and depicts the final of the ten kings in the after-life judgment sequence. 매일경제
The return stands as part of a broader movement in which Korean Buddhist artworks, believed to have been removed illegally or under unclear circumstances during and after the Korean War, are being repatriated. For instance, the Los Angeles County Museum of Art (LACMA) returned six panels of Siwangdo to Korea in 2020, acknowledging that their provenance included removal by U.S. Army personnel. Unframed
“The Tenth King of the Five Paths Turning the Wheel” (Siwangdo, 18th century), originally from Sinheungsa Temple in Sokcho. Courtesy of the Metropolitan Museum of Art.
Challenges & Future Concerns Cultural heritage experts point out that while the repatriation is a milestone, it also raises a set of longer-term concerns. One major issue is the provenance verification: LACMA’s decision to return its holdings followed an extensive provenance investigation, including U.S. Army photographs taken in 1954 that showed the removal of the works. Unframed
Another concern is that “returning” an artwork is only the beginning. The temple must now ensure proper conservation, display conditions, and security. “This Buddhist painting, which remained abroad for 70 years, is a meaningful event for the restoration of our cultural identity and spirit,” said Heo Min, head of the Korea Heritage Service.
Finally, the case highlights larger questions about the identity and control of Korea’s cultural assets overseas. As Lee Sang-rae observed, “We will continue our efforts to bring back the remaining three panels that have yet to be recovered.”
What Comes Next With this repatriation, Sinheungsa now houses a major piece of its original iconography. However, the remaining panels — still abroad — are now subject to increasing scrutiny. Korean institutions may intensify efforts to trace other dispersed cultural assets. Meanwhile, the temple and the nation must now shift focus toward sustainable stewardship, ensuring that this heritage is preserved for generations to come.
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November 14, 2025. A striking 18th-century Korean Buddhist painting known as the Ten Kings (Siwangdo) has been officially returned to Sinheungsa Temple in Sokcho, Gangwon Province, after spending 71 years in the United States. According to the Overseas Korean Cultural Heritage Foundation, the artwork was taken out of Korea in 1954, during the U.S. military administration in the region.
At a press conference held at the KGIT Centre in Sangam-dong, Mapo-gu, on November 14, Lee Sang-rae, chair of the Sokcho Cultural Heritage Restoration Committee, announced: “We are delighted that the Ten Kings painting has returned to its original home.”
Max Hollein, Director and CEO of the Met, commented that “the return of the Ten Kings painting is the result of joint efforts” and reaffirmed the museum’s commitment to “fostering understanding of Korean art through collaboration.”
Background & Significance The painting, titled The Tenth King of the Five Paths Turning the Wheel, was created in 1798 (the 22nd year of King Jeongjo of the Joseon Dynasty) and originally hung in the Myeongbujeon Hall of Sinheungsa. It measures approximately 91.4 cm wide and 116.8 cm high and depicts the final of the ten kings in the after-life judgment sequence. 매일경제
The return stands as part of a broader movement in which Korean Buddhist artworks, believed to have been removed illegally or under unclear circumstances during and after the Korean War, are being repatriated. For instance, the Los Angeles County Museum of Art (LACMA) returned six panels of Siwangdo to Korea in 2020, acknowledging that their provenance included removal by U.S. Army personnel. Unframed
“The Tenth King of the Five Paths Turning the Wheel” (Siwangdo, 18th century), originally from Sinheungsa Temple in Sokcho. Courtesy of the Metropolitan Museum of Art.
Challenges & Future Concerns Cultural heritage experts point out that while the repatriation is a milestone, it also raises a set of longer-term concerns. One major issue is the provenance verification: LACMA’s decision to return its holdings followed an extensive provenance investigation, including U.S. Army photographs taken in 1954 that showed the removal of the works. Unframed
Another concern is that “returning” an artwork is only the beginning. The temple must now ensure proper conservation, display conditions, and security. “This Buddhist painting, which remained abroad for 70 years, is a meaningful event for the restoration of our cultural identity and spirit,” said Heo Min, head of the Korea Heritage Service.
Finally, the case highlights larger questions about the identity and control of Korea’s cultural assets overseas. As Lee Sang-rae observed, “We will continue our efforts to bring back the remaining three panels that have yet to be recovered.”
What Comes Next With this repatriation, Sinheungsa now houses a major piece of its original iconography. However, the remaining panels — still abroad — are now subject to increasing scrutiny. Korean institutions may intensify efforts to trace other dispersed cultural assets. Meanwhile, the temple and the nation must now shift focus toward sustainable stewardship, ensuring that this heritage is preserved for generations to come.
