The schema, art of brush and meaning of the landscape wall painting from the tomb for Han Xiu and his wife which is located in Guoxin village, Xi’an, Shaanxi province are discussed in this paper together with the issues on wò yóu which means dreaming of travelling while enjoying landscape painting from a different perspective. The comparative analysis of the wall painting with those from Dunhuang and Shōsōin in Nara of Japan arrived at the conclusion that the wall painting of Han Xiu’s tomb followed the Tang landscape painting schema that was popular during the 8th century. The added thatched pavilion typified the common idea of life in seclusion of that time. The strokes, quick and spontaneous without constraint rather than scrupulous about minor details, represented the dominate trend of thought in Chang’an of the Tang dynasty, though, the artist might probably have no more time to deal with it with much care. The interactive relationship between early landscape painting and Buddhist pure land belief were ref lected by the schema shared by the paintings of Han Xiu’s tomb and the Amitāyurdhyāna- sūtra of Dunhuang which implies the contemplation of the setting sun. There are relations between philosophy of contemplation and wò yóu.