The period of the Northern and Southern Dynasties(386-581 A.D.) of China, from the 4th century to the 6th century, are the core period when Koguryo mural tombs evolved in three phases. Until the Eastern Wei(534-550), in the Central Plain, the mural tomb tradition from the Han was considerably weakened. When we discuss the wall painted tombs of the Northern Dynasties starting from the Northern Wei(Tuoba Xianbei), the sheer number of Koguryo tombs is impressive when it is compared with the scarcity of contemporary Chinese mural tombs until the middle of the 6th century. With the assumption that interactions between Northern Dynasties and Koguryo were contemporary, they provide us with useful comparable information about what kind of funerary art was made by the non-Chinese, Xianbei. On the other hand, they show us what kinds of funerary art traditions were maintained by Han Chinese under the rule of non Chinese. Examination of similarities and differences between Koguryo and Northern Dynasties tombs suggests which models and particular elements of Chinese funerary art the non-Chinese peoples accepted or rejected. Northern Wei funerary art needs to be considered for the possibility in that how it preserves Han tradition as a non-Chinese dynasty, and how it might help the revival of mural tradition in Northern Zhou. The Guyuan sarcophagus is a rare and extraordinary example revealing Northern Wei funerary painting tradition. It also shows the evolution from Han tradition, especially the Eastern Han. In Guyuan, we can see the fusion of funerary and Buddhist art. We also can see that major figures are wearing ethnic dress like that in Koguryo murals-which show the mixture of non-Chinese custom into Han Chinese. Also, the Guyuan painting shows the evidence of interaction between Northern Wei funerary art and Koguryo art in some similar motifs. Tombs of the Northern Dynasties including the Northern Wei and Northern Zhou and Koguryo provide us with interesting case studies of adaptation and transformation of nomadic people through art. Their possible cross-inspiration and the course of the divergence of each from the former common tradition of Han (206 B.C.-A.D. 220) funerary art are discussed in this paper.