According to Wang, Eugene Y. (2005). Shaping the Lotus Sutra. Buddhist Visual Culture in Medieval China. Seattle; London: University of Washington Press. p. 161-162; 173 ([1]), this is an early eighth century mural which is part of the north wall of the Mogao Cave 217, consisting of an Amitayus Pure Land tableau, next to a two-part Visualization Sutra tableau. This is the central part, depicting the Western Paradise as according to the Amithaba Sutra. In the center, is a lotus pond, with Amitayus Buddha holding a small object (perhaps a medicine bottle, according to Wang, 2005, note 50, p. 435). Amitayus is surrounded by other Buddhas and Bodhisattvas, and directly below them, on the bottom of the center, is a "dance floor", with graceful Jiyue and floating ribbons (as according to Li, Yushan (2022). "A Preliminary Study of Dunhuang Wall Paintings in the Prosperous Time of Tang Dynasty: A Case Study of "The Sutra of Contemplation Amtayus" Murals". Arts Studies and Criticism 3 (3), p. 229-230). This Amitayus heaven is associated with water (yin) and the Nine Classes of Rebirth (Wang, 2005, p. 173). According to Feng, Anne Ning (2018). Water, Ice, Lapis Lazuli: The Metamorphosis of Pure Land Art in Tang China. The University of Chicago (p. 122) ([2]), the Cave 217 was created by the Yin family in c. 707-710. Feng (2018) points that apsaras are flying through tall buildings in the background, leaving cloudy trails, and an aural atmosphere of the Pure Land is evoked by musical instruments, such as the monk standing over the bell tower with a baton (top left) (p. 210-211). Pure Land tableaus were symbolically and substantially associated with water imagery (such as lotus ponds) to the observers: water was foundational to the Pure Land, and it was a medium to souls which are reborn in a new body in the Pure Land, as babies (Feng, 2018, p. 3; 196; 201).
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