This paper, taking the painting titled Xuanzang’s Meeting with Lady Mahamaya at Lumbini illustrated in the second volume of Album of Tangseng Qujing as an example, studies its text content, iconographic tradition and its historical relationship with Mingzhou Buddhist paintings. Based on the above analysis this paper believes that the production of this Album is not a special case in isolation from Xuanzang’s story, but a work produced under the background of sanctifying Xuanzang’s image with utterances, images and statues as the carrier. Of which the cognition of the forms of artifacts comes from the knowledge system of the Song Dynasty, which has certain origins with the popular Ming－style Buddhist scriptures of Song and Yuan Dynasties.
