Abstract This article examines parallel projection as spatial representation and considers its role in constructing the city image. It investigates the representation of materially intangible concepts, such as infinity, impossibility and irrationality, through a close study of sixteenth- and seventeenth-century screen paintings of Kyoto called Rakuchu Rakugai zu. The tools of composition used in the paintings to influence the forms of the urban imagination bring into question the current Eurocentric historiography of parallel projection in architectural drawing by Erwin Panofsky, Yves-Alain Bois, Alberto Pérez-Gómez and Massimo Scolari. The article investigates and critiques Scenes from Another Kyoto through drawing experimentation: how and what are the spaces of urban, political and imaginative tolerances of what is allowed to be represented? The drawing practice reveals, scrutinizes and inhabits aspects of Eastern< >Western authorship and authority in Rakuchu Rakugai zu and speculates on the potential and limits of drawing to influence urban imagination.

中文翻译：

---

落入乐中乐外祖之云：东方<>西方绘画宽容批判通过思辨绘画实践

摘要 本文将平行投影作为空间表示进行研究，并考虑其在构建城市形象中的作用。它通过对 16 世纪和 17 世纪京都屏风画作 Rakuchu Rakugai zu 的仔细研究，研究了物质无形概念的表现，例如无限、不可能和非理性。绘画中用来影响城市想象形式的构图工具使欧文·帕诺夫斯基、伊夫-阿兰·博伊斯、阿尔贝托·佩雷斯-戈麦斯和马西莫·斯科拉里对当前以欧洲为中心的建筑绘图平行投影史学提出了质疑。这篇文章通过绘画实验调查和批评了来自另一个京都的场景：城市空间是如何以及是什么，允许代表什么的政治和想象力容忍？绘画实践揭示、审视和体现了东方<>西方作者和权威在 Rakuchu Rakugai zu 的各个方面，并推测了绘画影响城市想象的潜力和局限性。