Worship paintings in the minds of ethnic minorities in the northern mountainous region are considered the connecting thread between people and gods.

Worship paintings were born from the gratitude of ethnic groups to the gods, who sheltered and protected them after stormy migrations. In the northern mountainous provinces, worship paintings are present and play an important role in the spiritual life and beliefs of many ethnic groups such as Tay, Nung, Dao, Cao Lan, San Chay, San Chi... From the rituals of praying for crops, giving thanks, granting titles, Tet Nhay, to the customs of funerals, vegetarian ceremonies of families and clans... worship paintings are all hung in the most solemn position, as the presence and witness of the gods.
Worship paintings of ethnic groups are very diverse, in addition to their spiritual meaning, they also help people to be good and express their aspirations in life. For example, the Nung people's "Ten Kings of Hell" painting series has a strong educational meaning, emphasizing the law of cause and effect: Those who do evil will be sent to hell, thereby reminding people to strive for goodness. Meanwhile, the San Chay people express their desire for good harvests through the "Shen Nong and Dia Trach" painting series, which often appear in rituals praying for a good harvest, wishing for a prosperous new year...

The unique style of worship painting also contributes to creating value for the heritage. With a realistic style, the artists paint according to the beliefs of the people and the community, not following the rules of painting. On the same canvas, one can see many gods, demons and even humans, depending on the imagination of the painter. Thanks to that, worship paintings become mysterious, different and an important and indispensable part in the religious life of ethnic minorities.