The murals in the Mani Hall of Xingyuan Temple are relatively well-preserved Qing Dynasty murals in eastern Inner Mongolia. These murals depict figures such as the Buddha, Arhats, Buddha′s disciples, Skanda （Veda）, Vaiśravaṇa, laypeople, and Yama′s attendants. This article identifies the identities of the Arhats in the Mani Hall through their image characteristics. The Arhat figures are not only based on the popular Arhat styles among the Han people but also feature characteristics consistent with Arhat images in Tibet. These murals depict water scenes, demonstrate the Arhats′ supernatural powers, and convey the meaning of universal salvation and delivering sentient beings. The murals in the Mani Hall integrate Taoism and Buddhism, expressing the people′s sincere aspirations for life and showcasing the historical facts of multi-ethnic interaction, communication, and integration in border areas.