In contrast to Western paintings that follow geometric laws and are hence considered to be “scientifically-based,” premodern Chinese paintings have long been deemed as “philosophically-based.” This book argues that premodern Chinese paintings carry its own unique beauty that is actually also “scientifically-based.” By uncovering the patterns of accurately positioned Golden Angles (or Golden-Angled Triangles) in the compositions of premodern Chinese paintings, this book provides a new methodology for scientifically analyzing the said paintings; and from this methodology, a qiyun morphological paradigm is derived.
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