Observer as Cinematographer

Although Mr. Hockney has described the details of the narrative and the reductive use of color, perhaps he is missing talking about the different system of representation in Chinese or Asian perspective. I haven't dwelt deeply into it, yet; but if I would want to find some revelations I should be looking out for orthogonal perspective or the use of parallel lines to begin with. At first glance the system of representation in this scroll seems to be un-orthodox in that doesn't follow a strict system. If you had read Panofski on Perspective you would remember that in it the author talks about the struggles, conflicts, shortcomings and step by step achievements in the long process that led to the establishment of linear or vanishing point perspective during the Renaissance. The vanishing point in oriental perspective seems to ve located not inside the canvas on the horizon plane but in front of the canvas, right where the viewer is,  in his/her eye. Thus the lack of limits or edges and the cinematographic effect of the visual narration. The result being a sort of moving image where the projector is the spectator and the camera the scroll of paper shooting the different scenes in his/her perceptual apparatus.