明朝中期淨瓶觀音與眾護法圖，此幅壁畫使用藏畫法，也叫喇嘛水陸道場畫法。

先選用可以捲起，便於攜帶、收藏和張掛的柔軟畫布，布先用一個特製木框繃在上面拉緊，再上糨糊加入明礬後的膠礬水，糨糊加入明礬讓糨糊具有收斂、凝結、防蟲、防腐等功能，但年代久遠會讓布與紙產生天然風化現象、易脆，此幅畫布畫紙的易脆程度即符合明朝中期至今會有的風化程度，再用白土加膠，用光石磨壓，塗磨之後，布松下來，再拉繃一次，反覆多次，畫成之後不致發生畫布收縮而變形變樣。顏料是用標準明朝中期的天然礦物彩料，呈色依然鮮豔，但有明顯年代久遠風化現象。

畫工繁複細緻，與法海寺內壁畫之畫工如出一轍，菩薩和眾護法的神態姿勢、衣著紋飾，以及背景捲雲畫法，整體畫風、畫法和布局相同。

此幅畫中央為淨瓶觀音，淨瓶觀音眼瞼低垂呈思考狀，眉心中央有白毫，頭部比例較大，身形沉穩端正，上半身面積較大，著有披肩式的天衣，衣著蔽體不露，在寬大袖口自手肘才大幅散開，胸口交領低而寬，露出裙頭的結飾，衣著邊緣、內裡有華麗的花式圖樣環繞，有標準明朝中期捲葉紋，髮冠與瓔珞珠寶繁複華麗，衣著紋飾、髮冠和瓔珞珠寶局部描金，右手結施依印，左手掌心向上捧淨瓶，雙腿盤坐於多層次華麗法座上。

壁畫自淨瓶觀音右側開始有觀音與善財童子、東方持國天王、南方增長天王、堅牢地神、婆竭羅龍天、大自在天、功德天等眾護法，淨瓶觀音左側則有月天、北方多聞天王、西方廣目天王、帝釋天、鬼子母、閻羅王、菩提樹神等眾護法，眾護法極其仕女隨從衣著接華麗細緻，和法海寺內壁畫之畫風、畫工一致，應是明朝中期宮廷畫家所繪製。此幅壁畫是明朝中期宮廷畫家利用藏畫方式繪製的大型精美佛教文物壁畫，布質壁畫保存不易，此件雖布質易脆，但整體保存完善，是可與紐約大都會博物館壁畫媲美之大型精美布質壁畫。

This is a Guanyin with Vase and Dharmapala painting from the mid Ming dynasty painted in the Tibetan style, which is also known as the lama water and land bodhimanda painting method. Soft painting cloth that can be rolled up and is convenient to carry, collect, and hang, is selected. The cloth is then stretched on a special wood frame and an alum paste is used coat the painting cloth.

The alum gives the paste a concentrating, condensing, insect-preventing, and anti-corrosion effect. However, age will still produce a natural weathering effect on the cloth and paper, making it brittle. The level of brittleness of this painting paper conforms to that of paper from the mid Ming dynasty.

The cloth is treated with glue-added white clay and pressed/polished with smooth stones, then loosened and then stretched repeatedly. After the process, the cloth will not shrink or deform when painted on. The ink used is standard mid Ming dynasty natural mineral paint, which is still vibrant, although signs of aging can be seen.

The details on this painting are complex and intricate, and similar to that in the Fahai Temple wall paintings. The postures of the Guanyi and accompanying dharmapalas, their clothing and decoration, the decorative clouds in the background, and the overall painting style, painting method, and distribution is also the same ans the Fahai Temple paintings.

In the center of the painting is a Guanyin with vase, which has lowered eyes, a thoughtful expression, and an urna in the center of her forehead. The head is larger in proportion to the body while the body is upright and stable. The upper part of the body is larger in size and is covered in clothing that does not expose the body.

The wide sleeves start to spread out at the elbow and the collar is low and wide, exposing the knot of the skirt. The edge of the clothing is decorated with beautiful flower patterns, including standard mid Ming dynasty rolled leaf patterns. The crown and the keyura are also intricate and beautiful. The clothing patterns, the hair crown, and parts of the keyura are outlined in gold. The right hand of the Guanyin is held in a mudra sign while the left hand is open and holding a vase.

The Guanyin sits cross-legged on a beautiful multi-layered seat. Starting from the rights side of the painting, there is the Guanyin and the dharmapalas Sudhana, Dhatarattha, Virulhaka, Prthvi, Sagara, Mahesvara, and Mahasri. On the left side of the Guanyin with vase there are the dharmapalas Candra, Vessarana, Virupakkha, Indra, Hariti, Yamaraja, and Puti Shushen.

The dharmapalas and their female servants wear beautiful and detailed clothing similar to the paintings in the Fahai Temple. The consistency of the painting style and skill used indicate that they are done by a Ming dynasty court painter. This is a large and beautiful Buddhist wall painting done by a Ming dynasty court painter using the Tibetan painting method. Cloth wall paintings are difficult to preserve. Although the cloth of this painting is brittle, the overall item has been well-kept, and is comparable to the cloth paintings in the collection of large New York museums.