大雄寶殿的牆面，懸掛三組佛教圖像，分別來自藏傳、漢傳與禪宗三大傳承，展現佛教在歷史與地域中的修行風貌。

西側為清代《宗喀巴傳》兩幅唐卡，描繪藏傳佛教格魯派祖師宗喀巴大師的生平與教行。他於十四世紀重振藏地佛教道風，創建甘丹寺，著有《菩提道次第廣論》，圓融三學，樹立修行次第。畫面筆法精細，構圖繁密，呈現祖師的教法實踐與格魯派一貫的莊嚴風格。

西側《廬山蓮社圖記》描繪東晉慧遠大師與十八賢士共結白蓮社、專修淨土的歷史場景，畫中人物靜穆、山水清幽。據傳白蓮社賢士亦包括陶淵明、謝靈運、陸修靜等文化名士，象徵佛教與文人心志的交會。

東側《菩提達摩渡江》石刻拓本流傳於焦山、四川等地，筆意蒼勁簡約，描繪禪宗初祖達摩一葦渡江的傳說。此圖所傳達的，不只是渡江之事，而是達摩宗風：不立文字、教外別傳、直指人心的象徵體現。

三組圖像讓參訪者感受不同修行道路中所共具的誠敬與願力。

Adorning the walls of the Main Hall, three sets of Buddhist artworks reflect the rich craftmanship  of Tibetan, Chinese, and Zen traditions, illuminating diverse paths of practice across history and regions.

On the west wall, two Qing dynasty Thangka depict the life and teachings of Master Tsongkhapa, founder of Tibetan Buddhism’s Gelug school. In the 14th century, he revitalized Tibetan Buddhist practice, establishing Ganden Monastery and authoring the Lamrim Chenmo, harmonizing ethics, meditation, and wisdom. With intricate brushwork and vibrant compositions, these paintings convey Tsongkhapa’s legacy and the Gelug’s solemn grace.

Also on the west wall is the Lushan Lotus Society Record which portrayed Master Huiyuan of the Eastern Jin dynasty, joined by eighteen dignitaries, forming the White Lotus Society to practice Pure Land devotion. Serene figures amid tranquil landscapes evoke a historic convergence of Buddhism and Chinese literati, including figures like Tao Yuanming, Xie Lingyun, and Lu Xiujing.

One the east wall is the stone rubbing of The Bodhidharma river-crossing, sourced from Jiaoshan and Sichuan, captures the Ch’an patriarch’s legendary river-crossing on a single reed with bold, minimalist strokes. Beyond the act, it embodies Bodhidharma’s Ch’an ethos: direct pointing to the mind, beyond words and scriptures.

These artworksinvite visitors to connect with the shared reverence and resolve uniting all paths.