Painting eulogies are known as a type of painting format that combines both image and text and the function of such a combination of paintings and eulogies is usually for appreciation and admonition. When Buddhism spread into China, some paintings started to take up this type of format, for example, “The Painting Eulogy on the Sixteen Arhats”, “The Eulogy on the Sutra of the Ten Kings of Hell”, or “The Painting Eulogy on the Instructions of the Dharma Master of the Buddhist Realm Mañjuśrī”, etc. The contents of such eulogies are usually created from the reworking of canonical sutra texts by both the sangha and the laity. The writing of such texts are usually easy to recite, and also quite literary. Therefore, it not only helps to propagate Buddhist teachings, but also demonstrates the fine literary quality of its authors, thus, becoming a crucial genre in Buddhist painting. This paper aims to trace the development and formats of such Painting Eulogies in Buddhist art at Dunhuang.