A galloping horse springs with its forepaws up and raises its tail. Its lusty pectoral muscle and buttocks are burly and powerful. The man who is pulling the horse stretches out his right leg and tightens the rein with two hands, which helps people to realize that the steed contains a tameless power. This drawing is made with much embellishment and exaggeration of reality, which makes the horse in the drawing to seem full of flowing fervor and expression. It reflects the appreciative interest during the Eastern Han Dynasty and the excellent skill of Leshan artisans.

Half-lotus Posture (Jiejia Fuzuo) is of incised inscription and thick relief. Behind the statue there is auspicious Buddhist light. Its right hand holds the Wuwei Seal (Impavidity Seal), which implies the meaning of “Turn the magic ring to ease anything”. The fact that the Buddha statue appeared in the cliff tombs shows that the people had already begun to have a belief in giving the statues respect as Gods during the Han Dynasty. Buddhism was introduced into China in the Han Dynasty, but the earliest Buddha statue appeared in the cliff tombs of the Han Dynasty in Leshan, which demonstrates that the transmission of the Buddhism in Leshan was no later than that in other places. Maybe it came along with the merchants on the way of the “Southwest Silk Road”. It was a rare material for the research of cultural communication between China and India and the Buddhist history of China.

From the left to the right, there are near officials, Emperor Qin, Jin Ke, bodyguards, and Qin Wuyang. In the drawing, Jin Ke is bristling with anger, and he opens his hands and throws himself forwards to assassinate Emperor Qin. However, he fails to kill him and is grabbed by the waist by a bodyguard, but he does his utmost to break loose to chase and kill Emperor Qin, who throws away his own sleeves, loses his crest, raises a sword with his right hand, and flees in consternation. On the left of the picture, two near officials retreat in dismay and lose their composure. Qin Wuyang also has a dreadful intention in his heart and crouches on the ground. This picture shows that Dan, the prince of Yan State, appointed Jin Ke and Qin Wuyang to seek a chance to assassinate Emperor Qin by pretending to surrender to Qin and deliver a map. Emperor Qin gave an interview to Jin Ke and Qin Wuyang in the Xianyang Palace. When the real intention was revealed in the end, the palace was full of tension and turmoil, and this drawing represents the situation at that very moment. The time when Jin Ke assassinated the Emperor Qin reflected the furious conflict during the process by which Qin united China. The drawing has both clear praising and disparaging meanings. While the author is depicting Emperor Qin, near officials and bodyguards, he simultaneously pours passion into Jin Ke to give prominence to Jin Ke's portrayal, to show off the solemn and stirring atmosphere of:

“Wind blows, blows,
Yishui River is cold, cold,
The hero is to go, to go,
Come back? no, no.”

and to pay a tribute to Jin Ke's errantry and spirit of “a gentleman acts on behalf of an understanding friend”.

For this sculpture, the artistry of wielding the knife is concise and vivid. The author adopts hyperbole and antitheses to pop out the personality of the characters. The style of the picture is bold and unconstrained and achieves the artistic effect of the unity of description and charm.

Shan Huang Fu Picture · Volume III : “Green Dragon, White Tiger, Red Raven, and Black Tortoise are the four gods in heaven, whose functions are to regularize the four directions of north, south, west and east”, and here they are employed to safeguard the burial chamber. On Judgment · Book of Releasing : “In a house there are 12 main gods and the Black Dragon and the White Tiger are listed in it. The dragon and tiger are valiant gods and are the main ghosts in heaven. How can fierce flying and drifting corpses gather impetuously? Especially when the owner is valiant and brave, the wicked dare not spy.” Above the Black Dragon, fishes are inscribed, in front of which a driver is driving a covered wagon under heaven. In this drawing, “fish” and “great storehouse” are inscribed simultaneously, which indicates that the grave owner hoped to accumulate a generous amount of riches.
 
The White Tiger bares fangs and brandishes claws and acts as if to rush at a meal. The History of the Later Han Dynasty · Comity · Volume Two: “The tiger is drawn inside the house to eat ghosts”. Common Argumentation of Customs also says: “The tiger is the king of the beasts. It can catch gains, defeat the hasty, and bite ghosts… So it is employed to keep out the ghosts”. A dragon and a tiger are respectively inscribed on the left and right sides of this coffin, which means “Left Dragon and Right Tiger are used to ward off evil”. Of course, the objective is to lay a ghost to rest and to keep out evil to bless the dead.