The ten surviving Jinguangming Sutra Tableaux are arguably the least studied sutra paintings in Dunhuang Caves. Even the most fundamental parts of the images presented in the sutra tableaux are unclear. For example, the identities of the audience in the preaching scene are not identified, and the detailed episodes of the sutra are not recognized, either. The story of the Elder Jalavahana's son and the Prince Sattva sacrificed himself to save the tiger cubs had been painted in earlier periods under the context of Jataka stories. And yet they were also portrayed in the Jinguangming Sutra tableaux in the later period. Therefore, this paper intends to study and analyze these two elements further. In addition, should the Elder Jalavahana's son story depicted in Cave 417 built in the Sui Dynasty be considered as a Jataka story, or part of the Jinguangming Sutra tableau? To clarify this issue, the time when the earliest Jinguangming Sutra tableau appeared is the key. Was it the Sui or the Tang Dynasty that this said sutra was first painted in Dunhuang? After detailed research, it suggests the image in question in Cave 417 should be perceived as a Jataka story. Under scrutiny, these tableaux reveal the following development chronologically: 1. inception: In Cave 154, the image on the south wall was painted first, and then the one on the east wall was made later. 2. mutation: Due to the limitation of the shape of Cave 158, episodes possibly represented the Jinguangming Sutra were scattered around and resulting in difficulty in verifying their identities. 3. innovation: A wall painting clearly corresponding to the Jinguangming Sutra was designed in Cave 85. 4. Declination: The intention of revival was overwhelmed by the diminution in Cave 55. Furthermore, the image on the south wall of Cave 154 had been influential in later presentations of Jinguangming Sutra tableaux in Dunhuang. It is clear that this particular image served as the "model stencil" even elsewhere, such as in the Gaochang Temple in Xinjiang.