The development of Chinese wall paintings has a long history. The Dunhuang Grottoes presented the content of the Buddhist scriptures in the form of wall paintings. It not only demonstrated the spirit of the Buddhism but also integrate into the humanistic ideas of Chinese culture,therefore, it represented a grand scene and rich content. The works from the Wei, Jin and the Southern and Northern Dynasties to the Yuan Dynasty have been rich and colorful for more than a thousand years. The study of Dunhuang culture has now been listed as an international manifestation. The Yulin Cave belongs to the Dunhuang Grottoes and has a beautiful environment. They have the geographical conditions for the artistic conception of the pottery, and among them, the frescoes of the Yulin Cave 25 are just like other Dunhuang Grottoes, the purpose of construction is to flaunt and promote religious beliefs. However, compared to other caves, its uniqueness lies in the fact that its fresco style is quite mature, and it has departed from the category of decorative patterns. Xie Zhiliu described this cave, “panted in the Tianbao years of Tang Dynasty, is well-preserved and beautiful among more than four hundred Dunhuang Mogao Grottoes.It’s the origin of the 36th Cave of the Mogao Grottoes in the late Tang Dynasty”This is what Duan Wenjie praised as "a treasure of Chinese Buddhist art." It shows that the work is extremely exquisite, attracting the eyes of Dunhuang scholars, and also creating great masters of the artistic circles. Even though I have little talent and less learning,only know a little about the process of drawing the wall paintings, but I still admire and cherish the beautiful paintings and excellent artistic skills. This led me to study and explore the motives of the frescoes in the Yulin Cave 25, and expect that the study of wall paintings will enhance the understanding of the meaning of Chinese cultural aesthetics. Wall paintings of the Yulin cave 25 in Dunhuang are not only examples of the immortality of the art of paintings, they are even more valuable in all aspects of Chinese society and culture. Therefore, at the beginning of building, perhaps purely aimed to promote Dharma, but the work so stunning were not merely for the simple function of worship, “Only when some man-made material object has recourse tothe human body in its form, that is, when the physical formbecomes the aesthetic object, the artworks appear and existrealistically.” I believe that there is an ideal of beauty in the paintings and unique art, so it should be probe into the spirit, creative features and internal core nature from the aesthetic point of view. In summary, the main issues to be addressed in this paper are the following three points: What are the basic meanings of the wall paintings of the Yulin cave 25 and the possible cultural features and religious beliefs? How does Chinese painting style affect the work? What is the artistic connotation and aesthetic quality? Regarding the structure of this paper, I will first discuss and explain the location of the the Yulin cave 25, the historical and cultural backgrounds, and the development of Buddhism. Then further discuss the origins and meanings of the configurations within the cave and the origins of the Buddhist scriptures. The religious doctrines; followed by the artistic expression of the 25 cave is divided into character images, line colors, structural composition and spatial layout of the four parts of the analysis. Through the combing and sorting of documents, the cultural aesthetic significance and value of the 25 caves in Yulin were constructed. I am so grateful to teacher Tsui for instruction on the structure of the dissertation and the contents of the amendments. Together with the guidance of the oral test committee members professor Chou Yi-Chun and Yin shan-pei, my paper can be more complete.Also thank my family for their care and understanding during writing and have gived me an endless source of energy.