The second stage of Chinese tomb murals is the thriving period of the Sui, Tang, Five Dynasties, Song, Liao, Jin, Western Xia, and Yuan periods (581–1368). The secularization of the Tang Dynasty, the democratization of the Song dynasty, and the pluralism of the Liao, Jin, and Yuan Dynasties brought the long-term prosperity of tomb murals. During this period, the burial murals during this period were prosperous and independent. On the one hand, driven by secularization, burial murals flourished together with other forms of religious arts. With the rapid development of China’s traditional religion, religious dissemination has become the chief task of different religions with secularization as their common feature. For religious iconography, the secularized religion adds the richest color to life and promotes the secularization of religion. During this period, the interaction between art and religious belief pushes religious art to a peak. In the context of the flourishing religious art, burial murals also prospered. On the other hand, with the support of rebirth belief, burial murals remain the independent iconographic system that emerged and developed with the prevailing of Buddhism and Taoism. For this reason, burial murals are relatively less affected by Buddhism than Taoism in terms of preserving native identity. Throughout history, this independent iconographic system is of great significance in facilitating the development of native religious beliefs.