Abstract

Focusing on a case study of Zhao Mengfu’s Autumn Colors on the Qiao and Hua Mountains of 1295, this essay argues that colophons, the texts inscribed onto Chinese paintings by historical beholders, operate as focalizers offerings points of entry to the implicit beholder. The resulting aesthetic experience is less a dialogical encounter between artwork and beholder, and more a process of locating one’s affiliations in the time-space of an expanding web of social relationships expressed in the painting and the practice of writing on painting.

Full Text
Published version (Free)

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call