By Fischer L. (ed.)
Released in organization with the Workflow administration Coalition (WfMC), the Workflow guide 2002 contains 4 sections in over four hundred information-packed pages: part 1: the area of Workflow covers a large spectrum of viewpoints and discussions by means of specialists of their respective fields. Papers diversity from an creation to Workflow via to a peek into the way forward for XML workflow architectures and integrating company approach know-how. part 2 deals chosen award-winning Case reports from the yearly Excellence in Workflow awards. part three, Workflow criteria, bargains with the significance of criteria, and info the hot Wf-XML 1.1 binding lately released via the Coalition's Technical Committee. part four: The WfMC word list, a proof of the constitution of the Workflow administration Coalition and references include the final part, listing and Appendices, together with a club listing.
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The result, as we see from the surviving copy, is a visual journey comprised of a series of episodes in four sections that are divided and also connected by a number of screens. In the opening section (illus. 21), the host, Han Xizai, wearing a tall black cap is seated on a dais with an honoured guest in a red robe. The room is crowded with people and enclosed by furniture and painted wall-panels on all sides. Food and wine are arranged in rows on low tables; and members of the company, either sitting or standing, appear rather rigid and formal.
It stops the viewer's reading by abruptly altering the perspective. At the same time, it is 53 54 The Story of the Orphan of the Zhao, a scene on a Wu Family shrine at Jiangxiang, Shandong province, znd century, ink rubbing of a stone carving. iang, Shandong province, znd century, ink rubbing of a stone carving. 27 Painted lacqu er basket from Lelang (Rakuro), rs t centu ry AD. State Central Historical Mu seum, Pyongyang, Korea . 28 Historical figures and a screen, in a detail from the painted lacquer basked from Lelang (illus.
I have proposed that the N ight Entertainment consists of four sections: each section is itself a relatively independent spatial unit structured by the symmetrical placement of interior furnishings (illus. 32), and free-standing screens connect adjacent units into a larger composition (illus . 33). This statement is not wrong. But since it pays little attention to the painting's handscroll format (as proved by the two diagrams of illus . 32-33, both showing the painting in its entirety), it can be dangerously misleading.