In prehistoric times without written records, murals such as rock paintings and cliff paintings left precious primitive social features for future generations. In the later historical period, tomb murals, grotto murals, temple murals, etc. that flourished in different dynasties also filled many gaps and gaps that could not be confirmed in official history and art history.
During the Qin and Han dynasties, tomb murals, stone portraits, and brick portraits depict the image of heavenly gods such as the East Prince and the West Queen Mother, as well as historical events and folk life such as banquets and kitchens. These depictions vividly depict the prevalent lifestyle of the time, where gods were worshipped in heaven, music and dance were popular, and thick burials were prevalent. Another example is the world-famous Mogao Grottoes in the Mogao Grottoes of Dunhuang and the numerous cave temple murals in Xinjiang, which not only reveal the eastward spread of Buddhism along the Silk Road, but also allow future generations to glimpse the mysterious features of many small ethnic groups around the Central Plains since the Han and Tang dynasties, such as Tubo, Kucha, Uighur, Gaochang, and the mutual influence of culture and religion with the Central Plains.
During the Yuan Dynasty, there was a temple in Daxing where Buddhism and Taoism coexisted. Due to the fact that temples are not only religious sites, but also markets and places for cultural exchange, they have promoted the integration of murals with other folk arts. From the temple murals of the Yuan, Ming, and Qing dynasties, we can see the development of folk arts such as opera. For example, the performance scene of "Da Xing San Le Zhong Du Xiu" in the water temple murals of Guangsheng Temple in Hongdong County, Shanxi Province, reflects this social landscape. For example, the murals in the Mingying King's Hall of the Water God Temple mainly depict praying for rain and precipitation, as well as the palace life of Mingying King. However, the painter also depicts common customs such as playing ball, chess, selling fish, and dressing up. The appearance of dramatic scenes not only reflects the real life at that time, but also provides vivid materials for studying the history of Chinese opera.
It is worth mentioning that there is a special theme in the murals of Buddhist temples and monasteries, called the "Water and Land Dharma Meeting", which was derived from the need to hold water and land fasting to transcend the ghosts of water and land creatures. This water land ritual painting, which began to form a system in the late Tang Dynasty, vividly reflects the "coexistence" between people and ghosts and gods throughout history, as well as related folk customs. The image of the Water and Land Law Society began to form a system around the late Tang Dynasty. During the reign of Emperor Xizong of Tang Dynasty (881-885 AD), the painter Zhang Nanben painted this theme at the Water and Land Academy of Baoli Temple in Chengdu. The Water and Land Buddhist Association is a ritual in Buddhism to honor the souls of the deceased. During the ceremony, the images of the gods worshipped are collectively referred to as "Water and Land Ceremony Images" or "Water and Land Paintings".
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