The church of San Juan de Bohí is a small rural temple located in the town of Boí, in the heart of the valley of the same name, in the province of Lérida, Catalonia. This church is part of the group of religious buildings built in the Boí Valley during the Romanesque period, and it is believed to be the work of the same builders' workshops that participated in the construction of the other churches in the area. Its architectural style corresponds to the Lombard Romanesque, with its own characteristics that distinguish it within the Catalan artistic panorama.

The temple was recognized as a Historic-Artistic Monument in 1962, and later, in 2000, it was declared a World Heritage Site by Unesco, along with the rest of the Romanesque churches in the Boí Valley. This complex is one of the most valuable testimonies of Romanesque religious architecture in Europe, both for its state of preservation and its stylistic unity.

The church has a basilica plan with three naves, a wooden gabled roof, a main apse and two lateral apses. This distribution responds to the traditional models of the rural Romanesque. Originally, the interior and exterior walls were decorated with fresco paintings attributed to the so-called Master of Bohí, an anonymous painter whose work stands out for its expressiveness and use of color. For better conservation, these paintings were transferred to the National Art Museum of Catalonia (MNAC), where they are now on display, while reproductions can be seen in the church.

The bell tower of the church, with a square floor plan and vertical construction, is also representative of the Lombard style. However, it was badly damaged by a fire in the 13th century, which resulted in the destruction of its three upper parts. Today, the three lower bodies are preserved, decorated with typical elements such as blind arches, corner friezes and twin windows separated by small columns. The footings of these columns are arranged perpendicular to the wall, a distinctive feature of the style. The proportions of the tower follow the canon characteristic of Islamic minarets, in which the height equals the perimeter of the base, giving the towers of the valley a slender and harmonious appearance.

The original mural paintings dealt with biblical themes of great symbolic force, such as the prophecies of the Book of Daniel or the martyrdom of St. Stephen, considered the first Christian saint to be killed for his faith. Also included was the figure of a fantastic animal holding a fleur-de-lis in its mouth, located on the north wall, whose iconography has given rise to various interpretations.

In addition to the paintings, the MNAC conserves several Romanesque wood carvings from this church. Among them are four figures that were part of an ancient sculptural group of the Descent of Christ, attributed to the school of Erill-la-Vall. Also preserved is a painted altar frontal from the 13th century, dedicated to St. Peter, which reflects the decorative richness and liturgical importance of religious furniture in the Catalan Romanesque.