Wall paintings in temples from the modern period of Korea generally not only maintained the traditional iconography and style but also attempted a new style and iconography in accordance with the changes of times. First of all, based on extant examples, it can be argued that the following traditional practices had been continued: guardian figures painted on both the inside and outside of the Four Devas Gate, the entrance to the temple, as well as the theme of the life of Buddha, landscapes, f lowers, and birds painted on temple buildings. In addition, analyzing extant wall paintings, photographs, and written records, I found that Manjuśri riding a lion and Samantabhadra riding an elephant, both of which had been painted on inner walls, began to be painted on the right, left, upper, and lower walls of the front entrance in the modern era. Another new trend was that outer clayed walls were covered with wooden plates, on which paintings were drawn. Finally, as seen from hanging scroll- type Buddhist paintings and other painting styles in this period, a new mode of painting, inf luenced by the Western painting style, was adapted. In other words, Western painting’s perspective, shading, and new brush strokes were used. As a result, there are some examples of professional painters, instead of monk painters, drawing wall paintings on shrines in a temple in a completely different style or using unconventional representations. Wall paintings in temples should be thoroughly studied as part of comprehensive Buddhist art. Focusing on the extant wall paintings, one should find scattered photographs and written records of them and then review their context. This would be helpful to surmise a reconstruction of the original wall paintings.