The fourteenth-century murals of the Chunyang and Chongyang Halls at Yongle Palace unfold the lives of Lü Dongbin and Wang Chongyang across more than one hundred scenes. Mountains, rocks, trees, streams, clouds, pavilions, and courtyards fill these painted worlds. Yet landscape here is more than scenery.

This talk asks what happens when we look at these murals not only as images, but also as painted walls within an architectural space. Within the pictorial field, landscape organizes narrative: paths guide movement, axes structure encounters, and open grounds gather figures into shared events. Across the walls of the halls, these painted landscapes take on another role. Their scale, sequence, orientation, and relation to doorways, corners, columns, and the central shrine shape how viewers move, pause, turn, and look.

Seen in this way, the murals operate simultaneously as representation and as spatial experience. Narrative space within the image extends into the architectural space of the hall, bringing landscape, building, and the moving body into a continuous field of viewing.

By shifting attention from the mural as an isolated image to the painted wall as a spatial medium, this talk proposes a broader way of understanding wall painting in China. The landscapes created through these walls belong not only to the histories of religious imagery and mural painting, but also to a larger history of Chinese landscape and spatial practice.