In this writing, the aspects of the changes of the relationship between the ‘Eunjin Mireuk’ and the surrounding people and the state were approached through the key-words of ‘possession’ and ‘protection’. Through this, it is intended to make a critical viewpoint regarding the generally accepted one of the possession of a cultural properties = the preservation and protection. With the opening of the Honam Railroad that passes the Nonsan Station, the visits to the Gwanchoksa Temple started being vigorous. And at the Maitreya Festival, the people overcrowded. For the Gwanchoksa Temple, the problem was that the too big crowd can destroy the Eunjin Mireuk, without any justifications and methods to block the people. With the promulgating ‘The Protecting Order of Joseon Treasure’(1933), the isolation and the blocking of the Eunjin Mireuk began to be possible. After the liberation, the Eunjin Mireuk has been recontextualized as ‘a historical construction’ instead of a natural stone statue or a religious sacredness in the discussion of Nonsan reign people, which ends without any concrete conclusion due to the sudden war. In the 1950s, as a result of the Buddhist purification movement, the religious constructions of Buddhism lost their religious aura, and they became the cultural properties of the nation. Moreover, in the government’s redesignation of the cultural asset which aim to distinguish the national essences, the Eunjin Mireuk was demoted to being a treasure, as to be ‘the local style’, which is a different name of inferior quality. The reason why the definitions regarding the Eunjin Mireuk, which are said to be a local style, must be called into question is because of that it is defined in the conditions in which the religiosity has been gotten rid of and the placeness of the Eunjin Mireuk had been atomized.