Abstract
This essay argues that alternative, imported, monocular modes of seeing and conceptualizing vision prompted late-Ming picturing of indigenous Chinese, binocular visual experience. This essay fi rst probes seeing in late-Ming China by exploring printed illustrations as artefacts of visual experience. Then it posits that, in the face of Western monocularity, the representation of moving and/or projected images reifi ed indigenous, binocular Chinese ways of seeing. The essay concludes by suggesting that the seventeenth-century circulation of optical devices between China and Europe reshaped established practices, strategies, and ideas about vision in China and Europe.
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