The belief in Dicang (skr. Kshitigarbha) and the Ten Kings lasts for over one thousand years in East Asia. Its characteristics of popular cults make people believe widely and faithfully. The popularity of this belief can be compared with that of Kuan-yin belief. This belief was originated from buddhist concept of the hell, and derived from the popular cults of many other religions in China, such as Taoism and Confucianism. It became more and more popular, so that it is very important for the funeral rites. The nowadays preserved works of art of "Kshitigarbha and the Ten Kings", which was created during the end of Tang Dynasty (618-907) and Song Dynasty (960-1279), present the beginning of the belief in "Dicang and the Ten Kings". Although they can be traced from the end of Tang Dynasty, most of works are dated in Five Dynasties and the beginning of Song Dynasty, this means 10th Century. The majority of the well-preserved works is in Dunhuang and the Sichuan region. Furthermore the sculpture in Sichuan kept on being created even in the Southern Song Dynasty (1127-1279). My thesis focuses on their development and meanings. Iconography is to approach this issue in order to explore the Chinese attitude in medieval period while encountering death. It will analyze the relations of works between Dunhuang and Sichuan to visualize cultural exchanges and iconographic transformations from Central Plain. At the same time, I am also going to take the buddhist thought of Western Paradise into account, which gained its prosperity in Tang and Song Dynasty. The Adoption of this thought is a turning point that makes the belief in "Kshitigarbha and the Ten Kings" last. This thesis is to cover the following three areas: 1. The background of iconography. 2. The iconographic analysis of "Dicang and the Ten Kings". 3. The relations of the works from Dunhuang and Sichuan
