For many years, many artists and art historians have asserted that one of the core concepts of visual arts is that a motif can be derived only from the vocabulary that an artist has already learned. As the distinction is made between form and meaning, painting is depicted as a mental representation of one's own experiences. Veering away from examining the visual form, the focus of this book is the written presentation of a mountain, particularly examining how a specific mountain was portrayed in the youji or travel accounts during the Ming rule's final century. The study highlights how the viewer plays no small part in the natural world's representation process since physical and historical records of the site are examined without considering specific cultural contexts.
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