The page from Qinding gujin tushu jicheng, Kangxi Qing Dynasty (1726)

Lines alive and form close system for viewer's glance: they arise from the left lower corner to top and to the right side and fall together with the upper rabbit, along pin's stem viewer's glance goes to the lower rabbit and returns again to the stem.

E. Munch, Am Strom, 1908, Oil on canvas, 62.5 x 49.5 cm

Lines alive, but do not form any close system for viewer's glance, because space is open and lines run outwards without any sign of return.

Ando Hiroshige, Plum Estate, Kameido, 1857, From "One Hundred Famous Views of Edo"; Woodblock print, 13 1/4 x 8 5/8 in.

Hiroshige's tree has volume. Space deep, three dimensions appreciable. Impression of airiness. Euphoric mood. Serenity. Viewer's glance slips throughout surface. Hiroshige's space is open, but he does not emphatically separates any object, in contrary he places on the left pure red rectangle with hieroglyphs for creation a diversion of centre.

Upside-downed print's tree is clearly pulled to earth, even the thin branches press upwards.

V. van Gogh, Flowering Plum Tree (after Hiroshige), Oil on canvas, 55 x 46 cm, Paris, September-October, 1887.

V. van Gogh's tree plane without materiality. Space is not deep, similar to two dimensional. Impression of tightness. Earth is this same near and far. Far trees and human figures are inversed and without shades. Far light converted to blossom. Less precision, but this feature is conditioned by oil technique's differences from print. V. van Gogh's space of "Flowering Plum Tree" is closed by formal sidelong strips with hieroglyphs and concentration on centre, but together this closeness remains problematic. Coloring changed to warmer. Conversion from one color to another sudden. Absence of euphoria. Viewer's glance anxiously rooted to the geometric centre of picture.

Upside-downed picture's tree is not pulled by earth, it helplessly sinks down.