This full-size photograph shows an unfinished wall painting in the BMA collection that cannot yet be safely displayed, because its fragile unfired clay support and actively flaking pigment layer requires extensive conservation. The pose of the couple suggests that they could represent the tomb occupants. The painting would have been placed on the wall opposite the tomb entrance. Some details suggest the painting was not finished; most comparable paintings have a more complicated screen behind the couple, often with an inscription that sometimes includes the names of the deceased, rather than an unfilled gray area. That blank space—together with the lack of detail beneath the windows, on the fans held by the figures at the lower left, and on the red beam between the bracket sets supporting the roof—further indicates an unfinished state. The roof appears to have had parallel ceramic tiles. The quality of the figures’ garment folds and facial features are found in Yuan (1271–1368) and Ming dynasty (1368–1644) temple murals, both Buddhist and Daoist. Secular figures are not uncommon in paintings which decorated Ming temples. The headgear of the female figure suggests a Daoist rather than Buddhist context.