Simian Episteme, circa 1200

Abstract This article examines intersensory practices between seeing and hearing surrounding the medium of painting in middle-period China. Deviating from the better-known pictorial practice in which a mimetic image of a sound maker provides an entryway into a fictive soundscape, the central work discussed in this article depicts only a listener, and an unusual one at that: a seated monkey at the intersection of poetic, religious, and ecological boundaries. Attentive to the puzzling nonhuman form of the represented subject as an unlikely listener, it probes how the interplay between seeing and hearing gave rise to a complex sonic environment in pictorial medium. The unveiling of the mixed modality steers us toward an underrecognized role of painting in Chinese history as a material stimulus for multisensorial experiences, beyond the rhetoric of “soundless poetry” that has often stifled such dynamic potential of the medium.