Water and Land Painting, a traditional folk art in Guangping County, Hebei Province, is one of the national intangible cultural heritages. Water and Land Painting originated in the Three Kingdoms period. It was an important Buddhist event held by Buddhist temples from the Jin Dynasty to the Yuan, Ming and Qing Dynasties to save the souls of the dead and all ghosts and gods on land and water. It is a folk cultural phenomenon that emerged and developed under the background of "Three Religions in One". Water and Land Painting is a religious figure painting offered at the Water and Land Dharma Assembly. The themes of Water and Land Painting are mainly taken from the three major religions of Confucianism, Buddhism and Taoism. The line drawing is rich and vacant, the figure modeling is beautiful, and the picture color is rich and harmonious. The Water and Land Dharma Assembly refers to the opening of the Dharma Assembly when the rescuer and the rescued are in one hall. All participants can be saved and the magic and food are performed at the same time to save all suffering beings. It is a kind of ceremony to set up a vegetarian feast to worship Buddha and gods to recommend and save the souls of the dead and ghosts. It is a ceremony in Chinese religious activities with a grand scene, a grand scale and a long time. Water and land paintings emerged with the emergence of water and land ceremonies. They are religious paintings hung when temples or private individuals hold water and land ceremonies. They are one of the indispensable sacred objects for holding water and land ceremonies. A sample of the "Vow" from the mid-Tang Dynasty unearthed in the Dunhuang Tibetan Collection in the late Qing Dynasty says: "So on this day, sweep the courtyard, decorate the temple, invite the Buddha and invite the monks, set up a fast to pursue blessings." At that time, the "temple" was decorated with various Buddhist banners and hanging pictures with religious figures as the theme, which were early water and land paintings. According to existing documents, the earliest images of water and land ceremonies were first seen in the late Tang Dynasty and the Five Dynasties, and gradually formed a system. After the spread and development of the Five Dynasties and the Song Dynasty, water and land paintings have gradually formed a complete scale. In the Jin Dynasty, Buddhist temples and Taoist temples had water and land halls and complete sets of water and land paintings. For example, the main hall of the Jin Dynasty Yanshan Temple in Fanshi, Shanxi was originally a water and land hall. The murals in the hall were painted by the imperial painters Wang Kui and Wang Dao in the third year of Zhenglong in the Jin Dynasty (1158), but unfortunately the murals have been destroyed. In the Yuan and Ming Dynasties, the water and land paintings hung in the water and land Taoist temples were basically finalized. In the Daxi Water and Land Dharma Assembly held in general temples, there were 120 water and land paintings in one hall. The water and land Dharma Assembly held by the court used more than 200 scrolls of water and land paintings. The content of these works covers all the gods worshipped by the people. The number of paintings hung depends on the scale of the ritual. In addition, in addition to the complete set of scroll water and land paintings, Buddhist temples and Taoist temples appeared with special water and land halls with complete water and land murals. Most of the water and land paintings that have survived to the 21st century are from the Ming and Qing dynasties. In particular, there are many water and land murals in temples in Shanxi and Hebei provinces. Although these temples were built at different times, most of their water and land murals were painted after the Song and Yuan dynasties. Most of the existing water and land paintings in Shanxi are from the Ming Dynasty. For example, the murals in the waist hall (Water and Land Hall) of Qinglong Temple in Jishan are relatively well preserved. From the style of the architecture and murals and the relevant chronology, the murals in the entire hall were finally completed in the early Ming Dynasty. The colors of water and land paintings are ochre red with green tones, and the decorative effect is very strong, especially the painting method of the Bodhisattva portrait is the most exquisite. According to different art forms, water and land paintings can be divided into scroll paintings, murals, sculptures, etc. According to the different status and grades of the gods, there are upper and lower halls. Scroll paintings are hung during the Dharma Assembly period. The hanging is also hung in the upper or lower hall according to the different status and grades. The borders of the mounted scrolls are mostly divided into upper and lower halls, and divided into yellow silk and red silk. At that time, water and land paintings were considered very precious. They could only be hung at the Dharma Assembly and displayed according to the gods or their stages. They were collected and kept at the end of the Dharma Assembly. They could not be hung easily at ordinary times, nor could they be hung alone. They were special products for the water and land Dharma Assembly, which was a manifestation of the secularization of Chinese Han Buddhism. For example, the water and land paintings of Xilai Temple in Qinghai Province are in the form of scrolls, while the water and land paintings of Pilu Temple in Shijiazhuang, Hebei are all in the form of murals. On November 11, 2014, water and land paintings were approved by the State Council to be included in the fourth batch of national intangible cultural heritage list, with the heritage number -113.