The objects of art were among other herons gannets ducks ants deers hares, or long-horned bivalves, owls, peacocks, or fantastic mollusks can be recognized.
All flows into one another and yet acquires its own life, forming a whimsical network of imagination and reality. Apart from the decorative function, the ornament also fulfills other tasks. It underscores the architecture of the temple interior, its constructive scheme by emphasizing every essential detail of the architecture - the vaults, the arches over the two entrances to the circulating gallery, and over the central entrance into the temple.
It marks and emphasizes every corner of the interior, framing the Buddhas sculpture and the gray Su-jet compositions that decorate the temple wall, meaning "organizing" the distribution of the paintings on the wall surfaces and on the ceiling according to the architecture of the interiors of the building. The paintings in the Kubyaukgyi temple at Wegyi in are related to the artistic style, the character and the role of the ornament in the overall system of the picturesque decor, the temples of Thambula, Lemyethna and Theinmazi, dating from the middle of the 13th century. These creations give a fairly clear idea of the new tendencies in the decorative painting of Bagan at the end of the 12th and beginning of the 13th century.
The ornamental motifs of the wall paintings were so prominent that they determined the overall character and the peculiarity of the picturesque decor. The forms of these ornamental paintings became lighter, more elegant, more complex, and more expressive.
Exuberantly rich in figurative details, they testify to the high artistic mastery, the imagination, and the fine understanding of their creators for the laws of decorative art. The scenes from the jatakas attained a finished simplicity, the rich characteristic of the Bagan character being voluminous.