“Bamboo” section, from the Mustard Seed Garden Manual of Painting 1817

Editor: We're looking at a section titled “Bamboo” from the *Mustard Seed Garden Manual of Painting,* created by Wang Gai in 1817. It's made with ink and color on paper and currently held at the Metropolitan Museum of Art. What stands out to me is the deliberate arrangement of the Chinese characters on the cover – a strong contrast between the dark ink and the delicate paper texture. How do you interpret this work through a formalist lens? Curator: Considering its formalism, we can appreciate how the arrangement of the textual elements creates a structured visual field. Observe how the framing border around the calligraphy anchors the composition. The characters themselves aren’t merely symbols, they are also potent abstract shapes, balanced in relation to the void. What purpose does this tension serve, in your estimation? Editor: Perhaps to invite closer inspection of the lines and structure, highlighting that each brushstroke matters, irrespective of meaning? Do you feel the materiality – the texture and tone of the paper, the viscosity of the ink – add another layer? Curator: Precisely. The very texture of the paper—its absorbency—dictates how the ink bleeds and behaves. Look at how the artist uses this interaction to sculpt and give weight to each character, enriching their semiotic function with structural considerations. This balance creates the aesthetic experience. Editor: It’s fascinating to consider calligraphy not just as text but as an abstract, textured design. Curator: Exactly. By considering this work from purely its formal and material qualities, without needing context, we are afforded access into its pure aesthetic intentions. Thank you. Editor: Thank you, I will certainly approach similar artworks armed with a formalist approach.