These paintings depict the Ten Kings of Hell, who preside over the judgment of the deceased's sins. From right to left, it features King Byunseong (the sixth king), King Taesan (the seventh king), King Pyeongdeung (the eighth king), King Dosi (the ninth king), and King Odojeollyun (the tenth king).

At the center of the composition, each king is depicted seated, while in the foreground, deceased individuals are shown being dragged by prison guards and receiving their punishments. Each king sits on a high-backed chair placed against a large partition decorated with landscape paintings. The figures are arranged hierarchically: the central king appears largest, followed by slightly smaller judges and guards, with the sinners depicted as the smallest.

The format of depicting each King of Hell individually in a single painting, as seen in this work, was popular in paintings produced in workshops in the Ningbo region during the Southern Song Dynasty. This format remains well-preserved in surviving examples today. Notably, this painting shares compositional similarities with the Ten Kings of Hell series by the Southern Song painter Lu Xinzhong (currently housed in the Nara National Museum, Japan). However, its gold-painted patterns on clothing, soft color palette, and intricate designs on the kings’ table coverings reflect the unique characteristics of Goryeo Buddhist paintings. This piece is of great significance, offering valuable insights into the artistic exchanges that occurred across East Asia during the late Goryeo period.