Lijiang Baisha murals are works of the Ming Dynasty, chiefly created from the Hongwu to the Wanli eras. They were originally distributed among the Juexiansi Temple and twelve others, nine of which fell to ruins. The remaining four temples have altogether 55 murals, with a total area of 139.22 sq. m. The biggest of them is in Dabaoji Palace. The figures depicted in it amount to 100, all disposed naturally and reasonably, with lifelike miens expressing a variety of postures and the whole gamut of emotions. The murals contained in the glazed chamber of the Dabaoji Palace are provincial cultural relics under enhanced preservation.

The murals in Dabaoji Palace are anonymous. According to the research of Lijiang's artists for many years, they might be regarded as the collective creation of the Ming painters during several hundred years, and is a crystal of art which merges the painting style of the Naxi, Tibetan, Bai and Han people. One of the distinctive features is the mixing together, in one mural, of the classic stories of Buddhism that came from Tibet (Lamaism) and the local people's own Buddhism adopted from India as well as Daoism. The painting technique is characterised by delicate and exquisite strokes containing the elements of condensation and compactness of the inland and Tibetan painting as well as the elements of boldness and dynamism of the Dongba painting and the Tibetan Lamaist painting. They are marked by strong contrast of colours, vividness and truthfulness of features, plumpness of figures and elaborateness of production.

Tangqia Paintings

Largely taken from the Lamaist Mi sect, Tangqia paintings of Tibetan Buddhism belong to the Mi sect school. The main statue is usually a single person or an embracing couple surrounded by people, beasts, trees and stones chiefly in blue, white and red colours. Given as a gift by the Dashao Temple in Tibet, the Tangqia paintings are a precious local treasure and are invaluable in the research of Tibet-Lijiang missionary activities.