6卷 第6期
University of Dundee, Nethergate, Dundee, Scotland, DD1 4HN, UK
纸质出版：2025-12-30
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Nuo Cheng. (2025). Cavalier Perspective and the Moving Body. 文艺发展研究（英文版）, 6(6), 122-128.
Nuo Cheng.Cavalier Perspective and the Moving Body[J].Research on Literary and Art Development,2025,06(06):122-128.
Nuo Cheng. (2025). Cavalier Perspective and the Moving Body. 文艺发展研究（英文版）, 6(6), 122-128. DOI： 10.47297/wsprolaadWSP2634-786527.20250606.
Nuo Cheng.Cavalier Perspective and the Moving Body[J].Research on Literary and Art Development,2025,06(06):122-128. DOI： 10.47297/wsprolaadWSP2634-786527.20250606.
Perception of spatiality
for phenomenologists
is not merely a passive reception of visual data but an embodied engagement generated by the lived body. It is a dynamic experience of shifting angles
facets
volumes
depth
etc. Perspective
as a tool for creating and organising space in painting
implies a shareable perception of space involving multiple human sensations. The cavalier perspective (also known as 'reverse perspective') applied in traditional Chinese painting and Medieval iconography is such a representational form of space which reverses the foreshortening of linear perspective and accentuates a body in motion – a processing body interacting with space rather than a static observer.This essay traces the historical and epistemological origins of space-perceiving notions in Modern Western
Chinese and premodern Western traditions as associated with different perspective production
combined with Oskar Wulff and Pavel Florensky's studies on 'reverse perspective'. Secondly
drawing on Maurice Merleau-Ponty's phenomenology of perception
it examines how the primordial bodily experience – the one rooted in movement
temporality
and multisensory engagement – generates the spatial representation that resists the subject-object dichotomy in the modern West. Last
by exemplifying traditional Chinese paintings and Medieval iconographies
it explores how the cavalier perspective manifests what Merleau-Ponty stressed – the motility of the body
the idea that bodily movement is integral to perception.
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