This article, originating as a 2017 lecture by the curator Fu Xiaodong, examines how the late Ming–early Qing monk-painter Kun Can (1612-1672) encoded esoteric Daoist inner-alchemy knowledge within seemingly conventional landscape paintings. The author argues that Kun Can’s recurring pictorial schema—a mountain path rising from water to ninefold Kunlun peaks, marked by the Three Barriers and a meditating monk—faithfully reproduces the Neijing Tu, the secret diagram mapping the body’s meridians and acupoints onto a shanshui landscape. Tracing this body-as-landscape analogy from Guo Xi, Fan Kuan, and Zong Bing through immortal-realm iconography, the author reframes such paintings as topological sacred spaces, likening them to the Klein bottle and Mobius strip. The essay then situates the Chinese yin-yang, Five Phases, and Eight Trigrams system as a cross-domain “method of analogy” that connects body, cosmos, and society, comparing it to algebraic topology, Lacanian structure, Hofstadter’s theories of analogy, embodied cognition, and higher-dimensional neuroscience. The author ultimately proposes decoding these image-systems as preserved higher-dimensional knowledge bridging ancient China and modern science.