Art was widely used to express traditions in the Himalayan region. Once upon Many Times is an exhibition at the Rubin Museum of Art that represents a wide range of visual narratives and reproductions of temple murals, which can be considered exceptional examples of Himalayan art based on Tibetan myths and legends. Furthermore, this article will analyze the color arrangement, composition, proportion, hierarchy and motifs of Shantarakshita's historical narrative and scenes from his life and the Drowa Sangmo mural depicted at the Once upon Many Times exhibition. The Drowa Sangmo mural and the Shantarakshita portrait are both essential examples of Himalayan Buddhist art, telling stories not only of the literal history of Buddhism but also of the underlying cultural forces and religious meanings at play. Looking more closely at the Shantarakshita painting and scenes from his life in Tibet and the Drowa Sangmo mural, it can be said that the color scheme, proportions and scale of these objects are similar, but significant differences can be found in the shape , in the hierarchy and composition of these objects which can be explained by disparities in the main themes of these objects and materials. The Drowa Sangmo mural is painted directly onto the wall of a temple in Tibet; its religious context is literally inseparable from the painting. The Drowa Sangmo Mural also depicts in two-dimensional format the dynamism of Tibetan opera: another art form that summarizes the complexity of Tibetan culture and the link between art, culture and religion. On the other hand, Shantarakshita is a portrait of a monk who helped bring Buddhism to Tibet. Both the Drowa Sangmo mural and the portrait of the monk Shantarakshita show how the historic...half of the paper...shape of the painting has been replaced with a more rectangular shape. Another important aspect is the hierarchy of the depicted figures, which depends on the spiritual desires of the priorities and influences the choice and placement of the figures. Most of these characteristics, including religious concerns, color scheme, shape composition and hierarchy, are observed in the objects under analysis, making them part of the stylistic movements of their time. Regarding the metaphorical meaning of the objects, the main conclusion that can be drawn From the narration of Shantarakshita and the scenes of his life and the mural of Drowa Sangmo the importance of practicing Buddhism. By involving the depicted figures in the historical and legendary context and telling different episodes of their lives, the artists emphasized the main motif of faith and its place in people's lives.