In this paper, I tried to compare the aspects of the urban festival of China and Japan through the four 16-17th century paintings - Spring Festival on the River(淸明上河圖), Inside and Outside the Capital(洛中洛外圖), Fanhui map of Nandu(南都繁會圖), Gion Festival Screens(祗園祭禮圖). The results are approximately as follows. After the urban landscape centered on commercial areas was being incorporated into the Genre art paintings in the two countries, the solemn procession has gradually become an icon of the city festival as it coincides with the entertainment demand of the urban working class, and the process of this change was common in both countries’ paintings. The procession and their route were the main subjects of description in the two countries’ paintings. With the right combination of bustling shops, ceremonial procession and their routes, the paintings were able to capture the panoramic view of the city festival effectively. A noticeable difference is that the composition unit of the procession is centered on a small-scale performance troupe in China, while Japan is centered on a mountain parade. It is thought to be caused by differences in both countries’ social development. Overall, the two countries’ urban festivals depicted in the paintings clearly show a sympathetic tendency. Since this phenomenon will be closely linked to social changes that have developed since modern times, it is thought that extensive research will be needed in the future.