The lowermost portion of the composition is more cluttered than the uppermost portion, serving a symbolic function. The artist contrasts the mundane world of the human mind and society with the transcendent world of enlightenment. The blue halo surrounding Shantarakshita leads the eye upward, via a lotus blossom, towards the two figures above him: Shakyamuni Buddha to the right and Shantarakshita's own teacher to the left ("Historical Narrative: Shantarakshita"). Although it is permanently on display in a Tibetan temple, the Drowa Sangmo Mural depicts more of a mundane scene than does the portrait of Shantarakshita. Nothing, however, is entirely mundane in Tibetan society. The Drowa Sangmo proves that fact by depicting a Tibetan opera scene. The drama unfolds, representing historical events.

The color palette used in the Drowa Sangmo Mural is earthier than the one used in the portrait of the guru Shantarakshita. The more realistic color palette corresponds with the nature of the subject: which includes references to everyday life in the subcontinent and the Himalayas. Animals integral to daily life...

Moreover, there are several examples of Chinese influence in the Tibetan painting: signifying contact with the northern power. Temples, renditions of guardian spirits, and the rendering of the landscape are distinctly Chinese in their influence. Therefore, both the Shantarakshita portrait and the Drowa Sangmo Mural exemplify the connection between religion, art, history, culture, and daily life in Tibet.