Abstract: A research study titled mural paintings of the city of That Phanom: history and literature, aims to study the history of the making of mural painting in the city of That Phanom, as well as to study the literature of mural painting in the city of That Phanom. The study is based on historical documents and field studies in That Phanom district, Nakhon Phanom province of Thailand. Research tools consists of survey and structured interview, targeting group of informants consisting of scholars in art history, abbots and monks, local philosophers and local people. Study results showed that the history of the making of mural painting, currently existing in the city of That Phanom, Nakhon Phanom province, began in the year 1919-1934, coincided with the end of King Rama VI’s reign and the beginning of King Rama VII’s or during the transition from absolute monarchy to democracy. According the field study at three temples, the research witnessed important events related to the history of the creation of mural painting (Hoop taem) as follows. For Wat Hua Wiang Rangsi temple and Wat Buddhasima temple, construction of the uposathas (Sims) began in 1917; the two temples have royally been given the Visungkhamsima in 1919. For the making of the mural art, Wat Hua Wiang Rangsi’s mural paintings were made in 1919 while that of Wat Buddhasima’s, 1920; Wat Pho Kham’s construction of Uposatha was in 1933 and the making of Hoop taem was first created in the year 1933-1934. Creation of Hoop Taem in the city of That Phanom all shared a starting point from the restoration of Phra That Phanom. In the period of Phra Khru Viroj Rattanobon who came from the city of Ubon Ratchathani, there was Luang Chan Akson who played the role as the painter, applying the concept of mural art of Bangkok style that had an influence on the Hoop taem of the city of That Phanom. Even they were built in the same period, each temple has a different identity. For the literature aspect, it can be divided into 2 groups: primary literary and secondary literary groups. The primary literary group used in the painting of Hoop taem consists of the Buddha’s history, the Ten Jataka Tales, Sin Sai, Phra Malai and Suriyawong, of which the main literature shared in common is the Buddha’s history. Each temple gives a lot of space for mural painting featured in a prominent position. The secondary literary group is the one that does not appear much, consisting of images of Ramayana, Laksanawong, Chantakorop and Phra Suthon-Manohra. The secondary literature that shares a common characteristic is the image of the Ramayana. According to each temple, it also shares different other literatures which are non-Buddhist, e.g., Ramayana, Sin Sai and Suriyawong, that became the outstanding literature of each temple.