It was discovered, in a record associated with the construction of the Buddha image found in a wooden seated Buddha image enshrined at Gyeongheung-sa Temple in Gyeongsan, that Cheongheo was a monk-sculptor from Geumsan-sa Temple in Gimje. According to this record, Cheongheo worked as a sculptor from 1605 until 1645. His life as a sculptor can be divided into two distinct periods: his time as an apprentice and his time as a master. It appears that he served as an apprentice under the Wono School of monk-sculptors, which included Wono and Gakmin, between 1605 and 1622, and that he was active as a master monk-sculptor together with apprentices of the Cheongheon School during the period 1640-45. However, there are no records of his activities for the eighteen years between 1622 and 1640. Cheongheo worked together with monk-sculptors of the Cheongheon School as a master monk-sculptor, although he took part in the production of Buddha images by the Wono School while he was an apprentice. He made Buddha images in the style of the Cheongheon School rather than in that of the Wono School. During the late Joseon period, monk-sculptors who followed a path similar to that taken by Cheonheon were exceptions rather than the rule. Extraordinary examples of such monk-sculptors include the monk Dou from the Muyeom School, who made Buddha images together with apprentices of the Huijang School, or the monk Haengsa from the Wono School, who made Buddha images together with monk- sculptors of the Muyeom School while training them as apprentices. No Buddha images made by members of the Wono School in the 1640s, when Cheongheo was in his most active phase as a master monk-sculptor, have been found. Judging from that fact, the Wono School might have lost its influence on the production of Buddha images. The facts can be confirmed by examining records left inside Buddha images and by comparing the style of Buddha image produced by the Wono School with that of the Cheongheon School. The Buddha images made by Cheongheo are quite different from those made by Wono in terms of their facial and bodily expression, but are quite similar to those made by Cheongheon. Such a result is thought to be attributable to the fact that most of the monk-sculptors who engaged in the production of Buddha images as apprentices of Cheongheo were associated with the Cheongheon School.