By Wu Hung
and pictorial representations, The Double Screen indicates how the
collaboration and stress among fabric shape and photo supplies existence to
a portray. A chinese language portray is frequently decreased to the picture it bears;
its fabric shape is brushed aside; its intimate reference to social
activities and cultural conventions neglected.
A display occupies an area and divides it, offers a fantastic floor for
painting, and has been a favourite pictorial photograph in chinese language paintings in view that
antiquity. Wu Hung undertakes a entire research of the display,
which may be an item, an paintings medium, a pictorial motif, or all 3
at as soon as. With its varied roles, the reveal has supplied chinese language
painters with unending possibilities to reinvent their art.
The Double Screen offers a robust non-Western point of view on
issues from portraiture and pictorial narrative to voyeurism,
masquerade, and political rhetoric. will probably be beneficial to an individual
interested within the heritage of artwork and Asian studies.
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Additional resources for The Double Screen: Medium and Representation in Chinese Painting
33). This statement is not wrong. But since it pays little attention to the painting's handscroll format (as proved by the two diagrams of illus . 32-33, both showing the painting in its entirety), it can be dangerously misleading. For example, following my analysis we may discover an internal contradiction in the paintings's composition: on the one hand, the screens, understood as inner partitions of a unified architectural space, divide yet link the four sections in a synchronic spatial continuum; on the other, how can Han Xizai appear regularly at either side of a screen - a situation that could never occur in real life?
Can we penetrate the layers of textual shells to gain a direct look at the painting? In other words, can we reinstall the painting's status as the subject of an original visual analysis? We cannot avoid these questions because they determine our interpretative strategies. The only way to answer them, I believe, is to define the historicity of the various 'textual enclosures' and their relationship with the painting. Returning to the record in the Xuanhe catalogue, we find that the writer of the passage, who was very likely Emperor Huizong himself, 3 D paid more attention to the historical anecdote than to the painting, about which he said not a single word.
The room is now 'empty': from the first section to this last section, the furnishing has been gradually reduced while the intimacy between figures has been intensified. The illustrations gradually change from descriptive to implicit and their message becomes increasingly ambiguous and open to interpretation. The painting gradually deepens in eroticism; the artist seems to lead us inside a deep mansion, penetrating layers of screens and unveiling the secrets they conceal. The structure of this complex painting demands particular attention.