《宗炳图学理论之研究.ppt》由会员分享，可在线阅读，更多相关《宗炳图学理论之研究.ppt（67页珍藏版）》请在三一文库上搜索。
1、,The Perspective Theory of Zong Bing in the 5th century of China Liu Keming Huazhong University of Science and Technology 430074 E-mail: ,Abstract A brief historical introduction of researches on perspective in ancient China is presented, this paper studied and discussed the perspective, theory or Z
2、ong Bing（宗炳） in the 5th century of China, including Zong Bing and this An introduction to Landscape Painting, and its mathematical basis, drawing ideas of Zong Bing as well . Key words: Zong Bing perspective theory,The perspective theory, a very important division of mathematics, geometry and techni
3、cal drawing, is also called central perspective theory in engineering technology. Its appearance and development are closely related to human beings knowledge and practice in drawing and architecture. Actually, peoples understanding and knowledge of perspective theory may date as far back as the roc
4、k paintings in ancient times. No matter in the rock paintings of Mount Yin in Inner Mongolia or in those of Mount Keluke in Xinjiang Province, there are drawings available which record either the front view or side view of human beings or animals. In these pictures, the position of the objects indic
5、ates their distance from the audience. The higher the object is, the farther it is located from the audience, and vice versa. This shows the investigation of space in drawing by ancient people.,1. Research on perspective theory in ancient China The perspective theory was called rule of distinguishin
6、g between the near and the far in ancient Chinese drawing theories. It has already been widely applied in drawings in ancient China. All over the 18 provinces of China, altogether more than 100 counties, there are signs available (such as rock carvings and rock paintings) showing ancient herdsmens u
7、nderstanding of perspective and their application of the idea of “the nearer, the bigger; the farther, the smaller”. Although these carvings and paintings are crude and are far less delicate than modern ones, they are precious traces of ancient civilization and represent the living and working of an
8、cient herdsmen. Besides, these carvings and paintings also provide us with clues for investigating the origin of ancient drawing and that of perspective theory.,For instance, in the rock paintings of Mount Yin in Inner Mongolia, front projection is used in drawing human figures, presenting a precise
9、 view of them. With regard to the drawing of animals, side projection is adopted. Front projection and side projection are two main techniques used in the rock carvings of Mount Yin. Another example can be found in a rock carving called Hunting Wild Bulls (围猎野牛图) in Mount Keluke in Xinjiang Province
10、. This painting is indeed a good example of appling the theory of “the nearer, the bigger; the farther, the smaller” into painting. On the left of the carving, three hunters on horses are running after a wild bull and at the same time stabbing the bull with the long spears in their hands. While behi
11、nd the three horses, there is a piece of rope lying on the ground. The carving is vivid and the position of each object on the carving is also explicit.,Many of the Chinese ancient drawing theories discuss the laws of perspective and the practical principles concerning perspective that people should
12、 follow in drawing. In XunziRemoval of Blindness(荀子 . 解蔽), it is written that, “A common drawback in peoples understanding is that most people tend to be attracted by certain aspects of the object they are observing while neglect the entirety. Thorough understanding can be achieved only when unilate
13、ral understanding is corrected.” Xunzis holds the view that “as long as people have doubts in their mind when observing things, they cannot make a decision. Thus they cannot have a comprehensive understanding of the outside world and therefore cannot present it faithfully.”,In explaining the perspec
14、tive theory, Xunzi makes a metaphor of rule of Distinguishing between the Near and the Far, “Looked from the mountain top, the cows at the foot of the mountain are just as big as sheep. But the shepherd would not go down to get them because he knows that they are indeed cows and they look smaller ju
15、st because that they are far away. Similarly, viewed from the foot of the mountain, the trees which are actually several zhangs (丈) tall on the top of the mountain are just as small as chopsticks. However, those who need chopsticks would never climb up the mountain to get them for he is also aware t
16、hat it is the distance that makes them look small.”,Wang Xianqian(a great ancient Chinese philosopher) explains that the shepherds would not go to get the “sheep” and those who need chopsticks would not go to get the “chopsticks” because both of them know that it is the distance that misleads them.
17、In the same chapter, Xunzi also talks about inverted reflection in water, “With the movements of the water, the inverted reflection moves along. People cannot judge the shape of the objects from their reflections in the water because the movements of water dazzle peoples eyes and make it impossible
18、for people to get a clear picture of the objects just from their reflections in the water.”,Some paintings adopt perspective drawing method, like the rivers in Dragging out the from Sishui River(泗水捞鼎图), which reflect the concept of “the nearer, the bigger; the farther, the smaller”. Similar applicat
19、ion of perspective drawing is also available in Taking out the from Sishui River (泗水取鼎图). The perspective techniques used in ancient paintings were aimed at reproducing the visual image of the original object. In this sense, they accord with modern perspective theories.,In Han Dynasty, rule of Disti
20、nguishing between the Near and the Far was greatly developed and skillfully applied to drawing. The paintings of Han Dynasty are a unique art in Chinese history. These paintings are carved on stones and are used to decorate tombs, ancestral temples, doors, etc. They not only integrate previous achie
21、vements in drawing but also combine the innovations of that period. Some of these paintings apply front projection in drawing, such as A Formal visit to the Official Residence (官邸拜谒图), which draws the buildings in the central of the painting by way of front projection.,Zhang Yanyuan（张彦远） in Tang Dyn
22、asty writes in his book Famous Paintings in All Ages （历代名画记）, “Ever since the Qin Dynasty and Han Dynasty, there have been a lot of wonderful paintings worth recording. From Three Kingdoms and Jin Dynasties to southern and Northern Dynasties（魏晋南北朝时期）, talented artists appear one after another and th
23、ere are outstanding representatives in painting in each period.” In Jin Dynasty, one artist who touches upon perspective theory is Gu Kaizhi（顾恺之） who “has made brilliant achievements in painting because of his fantastic drawings”. Gu Kaizhi points out that “only through constant thinking can one und
24、erstand fully the objects to be drawn” and “artists can reveal peoples spiritual world by way of describing their appearance and manners.”,Gu Kaizhi gives the following accounts about perspective relations, “There is a drawing 3 centimeters in width. Small as the drawing is, the characters in it var
25、y in size. When the relation between “far” and “near” in the picture is determined, the size of the characters is also determined and cannot be altered at will, otherwise the position of the characters would be unclear.” Drawing Mount Yuntan (画云台山记) in the 5th Chapter of Famous Paintings in All Ages
26、 shows that Gu Kaizhi has already noticed shadows and inverted reflections as well as perspective and projection in painting. Concerning the drawing of shadows, he states that “a mountain has several facets. If it is projected from the front, there is shadow behind it.”,As to the drawing of inverted
27、 reflections, he writes that “where there is water, there are inverted reflections of objects.” When the shadows and projection of the objects are shown in the painting, a sense of space and the third dimension would be achieved, hence the picture becomes more vivid and expressive. Drawing Mount Yun
28、tan is a summary of the perspective methods used in drawing proposed by Gu Kaizhi. Through elaborating the shadows of the mountain and the inverted reflections in the water, he points out that in drawing it is fundamental to present a clear view of the precise perspective structure as well as the ex
29、act shadows and projections of the objects. Only by doing so can we reproduce the objects to be drawn more vividly and truthfully.,1. Zong Bing （宗炳）and his An Introduction to landscape Painting (画山水序) Since the Jin dynasty migrated to the southeast fart of China due to the invasion of minorities the
30、n other 4 different dynasties in the south of Yangzi River. This period more than 300 years is called by historians the period of southern and Northern. At that time, Buddhism was introduced from India and became quite popular in China. As a result of this, drawings in Buddhist temples were in vogue
31、. In Famous Paintings in All Ages（历代名画记）, Zhang Banyan writes that the artists at that time were “to made a thorough investigation, To talk speculative philosophy, to carry on the past and open a way for future, to master ancient and modern learning(穷理尽性,事绝言象.包前孕后,古今独立).” Among the artists there is
32、one who gives a systematic and scientific summary of drawing theories - Zong Bing （宗炳）of Southern dynasty, who devotes himself totally into the arts of drawing without paying any attention to personal profit and official ranks.,Zong Bing （宗炳）was born in Nieyang of Nanyang and he is also called Zong
33、Shaowen. As recorded in History of Song Dynasty （宋史） and History of Southern dynasty （南史）, Zong Bing respects Nature and has lived in a kind of natural environment for more than 20 years. He enjoys reading and is skillful in playing musical instruments as well as drawing. Besides, he also has deep p
34、erception and profound knowledge of drawing theories. Traveling is to him the greatest enjoyment and it is said that he would hardly thinks of returning home once he goes out to travel. He makes it a habit of drawing the places where he has traveled to and hanging the pictures in his room. Based on
35、previous research in drawing theories, he has made innovations in his An Introduction to landscape Painting画山水序). This masterpiece is not only the fruit of his persistent efforts of approaching and discovering Nature, but also the earliest literature in Chinese drawing history that systematically in
36、troduces perspective theory. It is virtually regarded as a milestone in Chinese drawing history. The whole text can be seen in the 6th Chapter of Famous Paintings in All Ages:,“Sage men can reflect the exterior world faithfully and precisely based on Dao (the laws of Nature). Therefore, their unders
37、tanding of the world accords with the natural principles and is a truthful representation of the exterior world. Regarding wise men, they are capable of observing the world objectively with on open mind and hence can appreciate, investigate and analyze various objects in Nature. As to the natural sc
38、enery like the mountains and waters, their existence is apparent while their inner beauty and charm are fantastic and full of vigor. Just because of this, ancient sage men and wise men such as Xuanyuan, Dirao, Confucius, Guangchengzi, Dayu, Xuyou and Guzhu have all traveled through famous mountains
39、and rivers.,They enjoy doing so just like what the Master said, The wise find pleasure in water; the virtuous find pleasure in hills. In traveling around the world, the wise and the virtuous are not only appreciating the natural beauty of the scenery but also trying to comprehend the inner beauty an
40、d the laws of Nature. Sage men reflect the laws of Nature based on their own principles, therefore their reflection is equal to Dao. Wise men comprehend the inner principles of Nature and appreciate the inner beauty of it. Their comprehension is also in accordance with the reality. The water and hil
41、ls present their inner beauty and natural principles through their appearance and the virtuous find pleasures in them. Isnt the essence of the ways of understanding Nature similar among the sage, the wise and the virtuous? I have traveled to Mount Lu, Mount Heng, Mount Jin and Mount Wu and I enjoy t
42、he hills and water so much that I am not even aware that I am aging.,But shamefully, I did not derive from Nature the ways to keep myself healthy and strong and hence I feel myself unworthy of the running water in Mount Lu. Therefore, the best thing I can do to compensate is to draw the hills and wa
43、ter with my brushes and paints.,We can understand and utilize the profound ideas and theories of ancient times through reading the literatures that record them. Similarly, is it much easier for us to comprehend the paintings that mirror Nature with concrete colors and forms because everyone must hav
44、e experienced Nature more or less? In this sense, paintings can well convey the feelings and knowledge of the artists to the audience.,Because the mountains are huge in size and humans eyes are small, it is impossible for people to get a whole picture of the mountain if the observer stands too close
45、 to the mountain. However, the observer can achieve this if he stands far away from the mountain because the farther the observer is, the smaller the images in the eyes are, and consequently the range of view that can be covered by his eyes becomes larger. If we place a piece of white transparent si
46、lk cloth in front of us, we can see that the huge mountain can be presented in the cloth which is only several cun (1cun=3.3333cm) wide and several cun long.,Therefore, a vertical line on the silk cloth can represent the height of several thousand chi (1chi=0.3333m), while a horizontal line may be e
47、qual to the length of several hundred (1li=500m). Hence it is understandable that instead complaining that the painting is not faithful to reality because it is far smaller in size than the real object, the audience is more likely to criticize the parts of the painting which he considers not skillfu
48、lly drawn. This is indeed natural and easy to understand. Through painting, the beauty and subtlety of the natural scenery such as Mount Song and Mount Hua can be vividly reproduced.,Everything in the world can be observed through the eyes and comprehended by the heart. As long as there is something
49、 observed by the eyes, there must be certain feeling in the heart. So long as the artist is aware of this principle, his reflection of the objects is sure to be vivid and precise. Similarly, on the part of the audience, their observation of the paintings by their eyes may also arouse certain feelings in their heart. In this way he can get an understanding of the painting which is as thorough as that of the artist. In other words, he can see what the artist sees and feel wha