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後期的天然礦物彩料，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、畫法和布局方式相同。此幅壁畫是明朝中後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 painting of Amitabha teaching Buddhism from the mid to late 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. 
此幅畫中央為阿彌陀佛，阿彌陀佛眼瞼低垂呈思考狀，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，著有披肩式的紅色僧衣，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，衣著邊緣有華麗的花式圖樣環繞，有標準明朝中後期捲葉紋，衣著紋飾是仰覆式蓮花團紋，雙手相對，仰放在膝上至臍下一帶，兩拇指指端相接，雙腿盤坐於兩層的華麗蓮座上，蓮座蓮瓣以蓮花和標準明朝中後期捲葉紋為飾。
The Amitabha in the center of this painting has lowered eyes and a thoughtful expression. An urna is painted on the center of the forehead. The head is larger in proportion to the body and the body is upright and stable. The upper body is larger in area and is covered in a red monk’s clothing, which covers the entire 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 hands are placed on the knees with fingers opposing each other and thumbs touching. The Amitabha sits cross-legged on a beautiful lotus seat. The petals of the lotus seat are decorated with lotus flowers and standard mid to late Ming rolled leaf patterns.
阿彌陀佛兩側有觀世音菩薩、文殊菩薩、普賢菩薩、媽祖娘娘等眾菩薩，並有眾羅漢與四大天王，眾菩薩、羅漢與護法及天女衣著皆華麗細緻，和法海寺內壁畫之畫風、畫工一致，應是明朝中後期宮廷畫家所繪製。
Surrounding the Amitabha are Guanyin, Manjushri, Samantabhadra, Matsu, and other bodhisattvas, the Four Heavenly Kings, arahats. The bodhisattvas, arahats, dharmapalas, and the goddesses all 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 mid to late Ming dynasty court painter.