Ming dynasty Wu Bin's famous stylish paintings have often aroused scholarly interests towards their formalities. But can we compare Wu Bin's numerous Buddhist portraits with landscape paintings in the same scale? Or can we analyze his styles and contents within the traditional landscape interpretations? The subsequent paragraphs are trying to review previous topics in relation with Wu Bin's ”The Twenty-five Great Deities of the Surangama Sutra” in National Palace Museum's collections. In the thesis, I tried to reconstruct Wu Bin as a lay Buddhist (居士) through careful reviews over historical texts, and then to identify his religious belief in ”The Twenty-five Great Deities of the Surangama Sutra” in the process of comparison and analysis of different icons (圖像) and styles. In this way, the stylish figures in ”The Twenty-five Great Deities of the Surangama Sutra” are linked with Wu Bin's Buddhist belief and its original social context. The research then is a possible point of view to observe mid and late Ming dynasty's visual culture.