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“透视”是一种绘画活动中的观察方法和研究视觉画面空间的专业术语,通过这种方法可以归纳出视觉空间的变化规律。客观物体占据的自然空间有一定的大小比例关系,然而一旦反映到眼睛里,它们所占据的视觉空间就并非符合原来的大小比例关系了。正如一只手与一幢高楼相比微不足道,手在远处几乎观察不到,但若将其向眼前移动,它的视觉形象就会越来越大,最后竟能遮住高楼,甚至整个蓝天,这就是常言所说一手遮天的道理。根据这个道理,可以通过玻璃窗子,向外观察,外面的景物,或树木,或山峰,或高大建筑,或人群,都可以在很小的窗框内看到。如果一只眼睛作固定观察,就能用笔准确地将三度空间的景物描绘到仅有二度空间的玻璃面上,这个过程就是透视过程。用这种方法可以在平面上得到相对稳定的具有立体特征的画面空间,这就是“透视图”。从透视图中推导出的视觉形象近大远小、缩形的变化规律,就构成了绘画中特定的“透视学”。
“Perspective ” is a kind of jargon in visualization of painting activities and a study of visual picture space. Through this method, the changing rules of visual space can be summarized. The objective space occupies a certain proportion of the natural space, but once it is reflected in the eyes, the visual space they occupy does not accord with the original proportion of the scale. Just as a hand is insignificant compared to a tall building, the hand can hardly be seen in the distance, but if it is moved to the front, its visual image will become larger and larger, eventually hiding the tall building and even the entire blue sky This is what the saying goes. According to this principle, you can see through the glass window, look out, outside scenery, or trees, or peaks, or tall buildings, or people can be seen in a small window frame. If one eye for fixed observation, you can use the pen to accurately describe the three-dimensional space to a glass surface of only two degrees of space, the process is the perspective of the process. In this way, you can get a relatively stable three-dimensional picture space in the plane, which is “perspective ”. From the perspective of the visual image derived from the near-far smaller, shrinkage of the law of change, constitute the painting of a specific “perspective.”