This article, translated from Chinese, examines how the Ming painter Wen Jia (1501–1583), second son of the Wu School master Wen Zhengming, repeatedly depicted the blessed lands of immortals in his mountain and water paintings. Through close readings of Immortal Companions on Yingzhou (National Palace Museum, Taipei) and Streamside Pavilion in Mountain Colors (Nanjing Museum), together with their inscribed poems, the author shows how Wen Jia constructed spiritual sanctuaries detached from the mundane world. The first work closely follows his father’s narrow vertical compositions and even transcribes a quatrain by Wen Zhengming, while the second reveals a personal style with the sparse elegance of Ni Zan; its inscription also allows a misprint in Bian Yongyu’s Shigutang compendium to be corrected. Drawing on records by Li Rihua, Wang Keyu, Lu Shihua and Tao Liang and on later poems, the author documents further lost works on immortal themes. He attributes this preoccupation to the literati ideal of withdrawal, to Daoist influence and to Wen Jia’s own character, and notes Li Rihua’s view that painters nourished by “mist and clouds” enjoyed long lives.