本文主要探討朝鮮後期大寂光殿佛壇佛畫的配置形式。以華嚴宗寺院海印寺法身佛（三身佛）和金山寺毘盧遮那佛五佛的形式為例，探討〈三身佛幀畫〉、〈五佛幀畫〉圖象的表現內容，以及依華嚴義理所呈現的象徵義涵。經考察得知朝鮮後期大寂光殿佛壇的配置，雖以法身論思想為傳統，但亦見含攝彌勒、彌陀等其他宗派信仰來表現華嚴十方三世的法界觀。

This paper explores the structural placement and formation （配置形式） of the Daejeokgwangjeon（大寂光殿） Hall Hubultaeng during the late Joseon period. Using the figures of the Trikaya Buddha from the Haeinsa-Temple of the Avatam. saka tradition and the Vairocana Buddha of the Five Wisdom Tathāgatas from the Geumsansa Temple, the paper explores the contents of the Trikāya Taenghwa Painting and the Five-Buddha Taenghwa Painting, as well as its expression of symbolism based on the doctrines of the Avatam. saka tradition（華嚴義理）. The observation revealed that although the placement and formation of the Daejeokgwangjeon Hall Hubultaeng during the late Joseon period follows the tradition of the Dharmakāya doctrine, there is also the expression of the universality of the Dharmadhatu viewpoint（十方三世的法界觀）in Avatam. saka tradition by containing the thoughts of Pure Land of Maitreya and Amitābha.