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In fact, Zhang superinscribes these paired relationships in the calligraphic styles of his image titles fig. The poetic titles themselves relate pairs through lyric parallelism and antithesis, and these connections are echoed in the pictorial compositions of the scenes that they name. These calligraphic, poetic, and pictorial rhythms speak to the affective associations between the activities and events depicted in the images fig.
But Zhang goes a step further than You Tong in his reorganization of narrative time and space. The pairs of images that form the first level of affective spaces connect through relations such as complementarity and contrast into a second level of affective spaces fig. Thus, the first set represents his youth in his home region of Guangdong pairs 1 and 2 ; the second, his early travels in the southeast and along the middle Yangzi pairs 3 and 4 ; and the third, spaces of friendship, love, and loss pairs 5 and 6. At this point, however, the structure of connections shifts: the multitemporal sites of his palace audiences and officiation of civil examinations pair 7 form a multidirectional refering both backward and forward affective node that divides and connects his life prior to office pairs 1 through 6 with that after office pairs 8 through They coalesce instead spatially around a central set of images that feature the author immersed in the contemplation of expansive, elevated, and intimate natural landscapes pairs 11 and 12; fig.
The design of the images responds to this second representational layer in the narrative. Viewed together, pairs 9 and 14 show a parallel centering of hills in the foreground of each image pair, from which expansive views over watery vistas extend outward to far horizons, surrounding on all sides the landscape of office that they frame.
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