現存北京法海寺大雄寶殿明代繪畫，在殿內東西兩壁呈現呼應構圖，兩壁諸佛菩薩的尊數相等，布局上皆可分為前、中、後三段，前段為四菩薩、中段為五方佛、後段為六菩薩，其配置具有何種意涵，確實使人感到好奇？據考前段東西兩壁四菩薩，構成「八大菩薩」；兩壁中段五方佛，構成「十方佛」；後段兩壁六菩薩，構成「十二圓覺菩薩」。在尊像造型上可看出，明清時期佛教繪畫的粉本傳抄的情況，乃至粉本挪用借身的情況，除非尊像本身有明確自我鮮明的圖像學造像特徵，得以識別身分外，但有時組合尊像僅是概念性的表達，使得有些單尊神祇角色為何？難以一一識別，雖然如此但在八大菩薩與十二圓覺菩薩的這兩組，經本文探討後仍可釐清各尊身分。至於十方佛的部分，因在造像上故意模糊化且有所忽略的情況，使得十方佛各尊無法單一識別，需整體化看待之。而畫面中的八大菩薩、十方佛、十二圓覺菩薩組合，屬漢傳佛教諸經會通的特殊融合模式，該壁畫繪製這些諸佛菩薩，傳達著一種十方諸佛與諸位十地菩薩雲集赴會場景，象徵著圓滿法界的自在場景，除此之外也蘊含著當時佛教儀軌奉請十方三世一切諸佛菩薩雲集的思想，在有限的繪畫空間中以少數諸佛菩薩，呈現以少為多的造像意涵。

The arrangement of the left and right mural painted in the Ming Dynasty are correlative in the main hall of Fahai Temple. In the left and right mural, the number of Buddhas and Bodhisattvas are the same. The arrangement of those mural can divide into three parts: the front which is Four Bodhisattvas, the middle which is Five Dhyani Buddhas, and the back which is Six Bodhisattvas. What is the meaning of the arrangement? According to exploration, combined Four Bodhisattvas of the left and right mural can compose Eight Bodhisattvas； combined Five Dhyani Buddhas of the left and right mural can compose Cosmic Buddha； combined Six Bodhisattvas of the left and right mural can compose Twelve enlightenment Bodhisattvas. Sometimes it is difficult to recognize the roles of deities, because the style of deities usually copy from sketch. It is not easy to identify except that the statues have the distinctive characteristic of iconography. According to iconography, Eight Bodhisattvas and Twelve enlightenment Bodhisattvas can be recognized individually, but Cosmic Buddha must be recognized totally. The combination of Eight Bodhisattvas, Cosmic Buddha and Twelve enlightenment Bodhisattvas belong to the fusion mode of Chinese Buddhism. In the limited space of the painting, the mural conveys that those Buddhas and Bodhisattvas gather to attend the Dharma Assembly. The meaning of the mural conveys that few Buddhas and Bodhisattvas substitute for all of Buddhas and Bodhisattvas in Dharma Realm .