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This study explores Chinese paintings as both material products and pictorial representations. The author seeks to show how the collaboration and tension between material form and image gives life to a painting. A screen occupies a space and divides it, and has been a favourite pictorial image in Chinese art since antiquity. Wu Hung provides a comprehensive analysis of the screen, which can be an object, an art medium, a pictorial motif, or all three at once. (source: Nielsen Book Data)