| Datong Huayan monastery murals have always been considered Qing dynasty works by historians. In this essay over on-the-spot investigation on murals in the northern Huayan temple, analysis on its content themes, design, layout, images, color, lines, mapping methods and research on the original murals between the two side cabinets, I compare the basic characteristics of the murals in Huayan temple, temples from Liao dynasty to Qing dynasty, and the temples in surrounding areas ,including 907-1125 murals in Shijia tower in Buddha Monastery in Ying county, 907-1125 murals in Sheli tower of Jueshan Monastery in Lingqiu, murals from Jin dynasty in Mituo palace in Chong Fu Monastery in Shuozhou, Jin dynasty murals in Yanshan Monastery in Fanshi county, Min dynasty murals in Yunlin Monastery in Yanggao county. From these, Huayan monastery murals are supposed to be drawn originally in Jin dynasty when the monastery is built, then be redrawn in Qing dynasty with the two side cabinets unredrawn, so some Jin dynasty murals are retained. When redrawn, the origin themes and layout are followed.With the typology as research method, on the foundation of analysis and comparison on the overall design, layout, theme and the original artistic characters of the two side cabinets. I make new inference of murals. Then I expound the probably evolution from first drawing to redrawing, the artisticvalues of Huayan monastery murals and historical values in studies on historical and the regional culture characters in Datong.
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