The writer responds to Jonathan Hay's article, appearing in this issue, on the role of mediation in an artwork, specifically in the painting A Solitary Temple below Brightening Peaks (Qingluan xiaosi). He explores how there appears to be an alignment between a present-day interest in teasing extrapictorial overtones out of a formal design and the Northern Song preoccupation with the “pictorial conception.” He explains that his reading differs from Hay's but that it affirms the general efficacy of the method that begins with noting the oddities, inconsistencies, and tensions in the formal texture and moves on from there.
© 2001-2024 Fundación Dialnet · Todos los derechos reservados