This study examines sacred objects( 腹藏, bokjang ) installed in Buddhist paintings of the late Joseon period and illuminates changes in the spaces for enshrinement, forms of huryeongtong (喉鈴筒), relations with dharani, and differences in the contents and process of enshrining objects between cylindrical and square huryeongtong s, based on Josang gyeong ( 造像經, a Buddhist scripture compiled in Joseon describing procedures for the creation and preparation of Buddhist statues) and other related ritual manuals. In order to understand the characteristics of bokjang in Buddhist paintings, this paper focuses on the spaces, into which huryeongtong was placed. Unlike Buddhist statues where a large quantity of scriptures, dharani , and textiles as well as huryeongtong was enshrined, Buddhist paintings offer a limited space. As a result, emphasis was placed more on huryeongtong itself, the fundamental element of bokjang practice. It in the end formed the characteristics of bokjang practice of Buddhist paintings. The mounting of Buddhist paintings is connected to the spaces for enshrinement.