While a fresco is confined by the wall it is painted on, its content has the potential to expand the visual space of an enclosed building infinitely. In contrast to text, painting can create a dynamic interplay between visual and conceptual space by layering different levels of space. Tomb paintings are a unique form of art that combine the physical limitations of their surroundings with abstract concepts and human thought. The mural in the chamber creates a unique physical space that is both a representation of its own space and a conceptual space that combines with human thought. This space represents the intersection of the real and the virtual, the finite and the infinite, and symbolizes heaven, earth, the universe, and all things. This paper focuses on the Tang tomb paintings and examines their spatial development. Specifically, it investigates how these paintings have played a crucial role in expanding the concept of perceptual space by expanding the physical space depicted in the artwork. When examining ancient wall paintings or creating art in modern times, it is crucial to take note of the way pictorial space intersects with real space, as demonstrated in wall paintings. It is important to comprehend the distinctive conceptual significance of wall paintings which is based on the physical space they occupy.

Yanghe Liu. The Physical and Conceptual Space of the Murals in Chinese Tang Dynasty Tombs. Academic Journal of Humanities & Social Sciences (2023) Vol. 6, Issue 7: 40-44. https://doi.org/10.25236/AJHSS.2023.060707.

[1] Li Xingming. A Comparison of the Shapes and Cosmic Images of Tang Dynasty Mural Tombs and Northern Dynasty Tomb Records. Fine Arts Watch, (2003), 3.

[2] Wu Hong. Translated by Qian Wenyi. The History of Art in ‘Space’. Shanghai People's Publishing House, (2018), 86.

[3] Wang Ximin. On the Representation of Space and Time in Han and Tang Mural Painting [D]. Master's Thesis, Central Academy of Fine Arts, (2019), 17-28.

[4] Feng Li. A Study of the Fugue in Selected Writings. Beijing Language and Culture University Press, (2016), 140.