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The composition, too, expressed the order of nature, with a tension between giving and taking, passive and aggressive, host and guest. In a group of trees, the "host" tree will be bent with spread branches, and the guest tree slim and straight. If a third tree is added, it must not be exactly parallel. Such a group of trees can itself be a host in relation to another"guest" group in another part of the painting. "Mark well the way the branches dispose themselves, the yin and yang of them; those in front and those in the back, those on the left and those on the right; mark well the tensions created by some branches pushing forward while others seem to withdraw." The host-guest principle of tree to tree can be equally well applied to the relation of rock to rock, mountain womens jordan 5's to mountain, or man to man. The inward emphasis of Chinese painting is expressed also in its peculiar form of perspective. While the West developed central perspective, the vanishing point of Brunelleschi and Alberti, the Chinese did not. Instead, the Chinese captured space in their painting by an invisible linear perspec- tive that diminished objects in the distance, and by aerial perspective that made more distant objects increasingly indistinct. white pink orange green jordan 7's The Chinese developed and classified three personal points of view, all related to ways of viewing landscape: the "level distance" perspective, where the spectator looks down from a high vantage point; the "deep distance" perspective, where the spectator's vision seems to penetrate into the landscape; and the "high distance" perspective, where the spectator retro 10 white b looks up. This helps explain why the Western observer feels strange when looking at a Chinese painting. And also why Chinese paintings seem to need no frame. For the painter's point of view has already provided a kind of frame. The Chinese painter wishesto avoid what would pretend to be a complete or finite statement, like that implied in a vanishing point. "AlI landscapes," the eleventh-century critic Shen Kua declared, "have to be viewed from the angle of totality . . . to see more than og chicago 2s jordan one layer of the mountain at one time. . . . see the totality of its unending ranges." The Chinese painter's subject matter, too, is quite different from the Western painter's. Western painters have exploited the sufferings of Christ on the Cross, the travail of Mary, the tortures of the martyr saints, and the scenes of battle. But Chinese painters, for the most part, stayed with their tradition of refreshing images of nature in familiar categories. To the Chi- nese painter of the Sung dynasty, Western painting might have seemed like the garish decorations ofBuddhist temples done by skilled craftsmen. Land- scape painting, which in Europe seemed less significant than figure painting, in China was not a mere background for historic events, ritual drama, or