In the Kucha region on the northern Silk Road, ten man-made cave complexes have been preserved, comprising, among others, around two hundred temples decorated with wall paintings. The arrangement of the paintings is determined by specific programs, which are easy to perceive in the most popular type of cave, the so-called central pillar caves. The program follows a well-thought-out plan to create an interior space with particular characteristics that offered visitors a spiritual experience. However, further measures were also taken in the caves to create decoration based on symmetry and mirroring, by arranging scenes with similar content and composition facing each other. This aspect in the arrangement of the paintings is based mostly on formalistic criteria to determine the selection and sequence of scenes, even affecting walls that could never be seen by the visitor at the same time. It seems necessary to draw the attention of scholars to these formal criteria, as with their help some peculiarities in the Kucha murals can be easily explained without resorting to profound literary sources. Moreover, colleagues also researching other cave temples should be made aware as well, as the principles governing the arrangement of images in other caves may be based on similar concepts. This essay puts forward the thesis that the symmetrical arrangement of the paintings was intended as a measure to ensure the effectiveness of the rituals performed in the interior.