By; Aurora Vivenzio

In the essay Perspective as symbolic form (1927), Erwin Panofsky stated that: «Perspective is the mirror of how the world is perceived». If we consider the spatial and temporal ideas as concepts that have always guided pictorial and artistic productions, these abstractions find their mode of representation and concretization through the perspective medium, a precious and dear concept to the Western world, but not as decisive and binding in pictorial productions of Mountain and Water painting (Shanshui hua 山水画).