Chau, Cheuk Ying. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 265-275). / Abstracts in English and Chinese; includes Chinese. / List of Illustrations --- p.vi / Acknowledgements --- p.ix / Introduction： a Psychological Approach to the Art of Mounting --- p.1 / The Significance of Mounting --- p.3 / Classical Literature and Past Research on Chinese Mounting --- p.10 / a psychological approach --- p.18 / Dissertation Structure --- p.24 / Chapter Chapter One： --- Scrolling' through History --- p.33 / Desire to Display´ؤFrom the Warring States to the Tang Dynasty --- p.33 / Splendid Adornment - The Song Dynasty --- p.40 / Emergence of the Literati - The Ming Dynasty --- p.60 / Subtlest of Pastels - The Qing Dynasty --- p.74 / Virtual Invisibility - The Republican Period and After --- p.84 / A Thousand Years of Hanging Scroll Mounting --- p.92 / Chapter Chapter Two： --- Seeing through the Enchanting Borders --- p.97 / Palette and Induction --- p.99 / Depth and Window --- p.109 / Oversized Outfit and Illusionary Size --- p.120 / Stave Strips and Composition --- p.126 / psychology and chinese hanging scroll mounting --- p.133 / Chapter Chapter Three： --- Experiment on Aesthetic Quality of Mounting --- p.137 / Method --- p.141 / Results --- p.146 / Discussion --- p.149 / Limitations --- p.152 / Conclusion： Subordination of Mounting --- p.153 / Appendix A： Experiment Questions --- p.157 / Appendix b： List of Artworks Included in the Experiment --- p.159 / Appendix c: Artworks Presentation Sequence in Different Groups --- p.161 / Appendix d： Aesthetic Quality Rating Sections of Different Groups --- p.162 / Group k --- p.162 / Group L --- p.168 / Chapter 1.1 --- Group M --- p.174 / Group n --- p.180 / Appendix E： Means (Standard Deviations) for Aesthetic Quality Ratings --- p.186 / Plates --- p.187 / Bibliography --- p.265

A frame can be understood to act as something both complementary and even intrinsic to the work it houses. But the frame also acts as more than just a physical object. It serves as a guiding principle, perhaps even a controlling device, in the sense that it provides a context for the work as well as informing the way in which a work is read. Acting with the image it surrounds, it links the artwork to the surrounding space as well as the viewer. In this study, I explore these various functions and effects by providing an overview of framing devices that have been used by artists in the West as well as referring to guiding principles that some museums in South Africa have used when making choices about the ways in which they frame works in their collections. This examination provides a context for my paintings. Based on photographs of the walls of various small galleries in the Eastern Cape, my works take as their subject the notion of the ‘frame’ as both a physical object and the marker of a historically contextualized viewpoint.

Dissertation (MA (Drama and Film Studies))--University of Pretoria, 2002. / Drama / unrestricted

Originally presented as the author's thesis, Basel.

Based on the author's dissertation (doctoral)--Universität Hamburg, 2005. / Includes bibliographical references (p. 237-252).