宗炳圖學(xué)理論之研究ppt課件

1、The Perspective Theory of Zong Bing in the 5th century of China Liu Keming Huazhong University of Science and Technology 430074: Abstract A brief historical introduction of researches on perspective in ancient China is presented, this paper studied and discussed the perspective, th

2、eory or Zong Bing宗炳宗炳 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 an

3、d technical 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

4、 the rock 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 objec

5、ts indicates 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 disti

6、nguishing 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 her

7、dsmens understanding 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 workin

8、g of ancient 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

9、precise 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 () in Mount Keluke in Xinjiang Provin

10、ce. 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 beh

11、ind 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 shoul

12、d follow in drawing. In XunziRemoval of Blindness(), 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 unilateral un

13、derstanding 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 perspective the

14、ory, 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 just becau

15、se that they are far away. Similarly, viewed from the foot of the mountain, the trees which are actually several zhangs (丈丈) 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 that it

16、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. In the sam

17、e 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 for people

18、 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(), which reflect the concept of “the nearer, the bigger; the farther, the smaller. Similar application of perspectiv

19、e drawing is also available in Taking out the from Sishui River (). 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 Distinguishing between the

20、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 achievements in drawing but

21、 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 (), which draws the buildings in the central of the painting by way of front projection. Zhang Yanyuan張彥遠(yuǎn) in Tang Dynasty writes in his book Famou

22、s Paintings in All Ages , “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魏晉南北朝時期, talented artists appear one after another and there are outstanding representatives in

23、 painting in each period. In Jin Dynasty, one artist who touches upon perspective theory is Gu Kaizhi顧愷之 who “has made brilliant achievements in painting because of his fantastic drawings. Gu Kaizhi points out that “only through constant thinking can one understand fully the objects to be drawn and

24、“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 vary in size. When the relation between “far an

25、d “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 () in the 5th Chapter of Famous Paintings in All Ages shows that Gu Kaizhi has already noticed shadows an

26、d 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 reflections, he writes that “where there is water, t

27、here 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 Yuntan is a summary of the perspective methods used in dr

28、awing 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 exact shadows and projections of the objects. Only by do

29、ing so can we reproduce the objects to be drawn more vividly and truthfully. 1. Zong Bing 宗炳宗炳and his An Introduction to landscape Painting () Since the Jin dynasty migrated to the southeast fart of China due to the invasion of minorities then other 4 different dynasties in the south of Yangzi River

30、. 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. In Famous Paintings in All Ages, Zhang Banyan writes tha

31、t 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(窮理盡性窮理盡性,事絕言象事絕言象.包前包前孕后孕后,古今獨(dú)立古今獨(dú)立). Among the artists there is one who gives a systematic and scientific summary

32、of drawing theories - Zong Bing 宗炳宗炳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 Shaowen. As recorded in History of Song Dynasty and

33、History of Southern dynasty , 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 perception and profound knowledge of drawing theories. Traveli

34、ng 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 previous research in drawing theories, he has made innovation

35、s in his An Introduction to landscape Painting). 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 introduces perspective theory. It is virtually regarded as a milest

36、one 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 understanding of the world accords with the natural principles and is a

37、 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 scenery like the mountains and waters, their existence is apparent

38、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 and rivers. They enjoy doing so just like what the Master said, T

39、he 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 and the laws of Nature. Sage men reflect the laws of Nature based o

40、n 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 hills present their inner beauty and natural principles through thei

41、r 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 the hills and water so much that I am not even aware that I am agi

42、ng. 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 water with my brushes and paints. We can understand and utilize the

43、 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 have experienced Nature more or less? In this sense, paintings can w

44、ell 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 to the mountain. However, the observer can achieve this if he st

45、ands 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 silk cloth in front of us, we can see that the huge mountain can be

46、 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 equal to the length of several hundred (1li=500m). Hence it is und

47、erstandable 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 skillfully drawn. This is indeed natural and easy to understand. Through

48、 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 observed by the eyes, there must be certain feeling in the heart

49、. 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

50、painting which is as thorough as that of the artist. In other words, he can see what the artist sees and feel what the artist feels. With what has been observed by the eyes and felt in the heart, the audience will have a deeper appreciation of the painting in his mind. At this point, the observation

51、 of the audience has already gone beyond the images drawn in the picture and beyond the boundaries of the paper. Consequently, he will be better aware of the laws of Nature hidden behind the picture. Actually, even though he travels to the place by himself, he is not necessarily to acquire more than

52、 what he can get from the painting. It is true that the so-called the laws of Nature is something vague and elusive. But as soon as they are made concrete through paintings, they can affect the audience to some degree, making the artists intentions more or less clear to them. As to the artist, he is

53、 considered to have fully carried out his responsibility as long as he can present the subjects faithfully and precisely. When I am free, I would sit down calmly, drinking wine and playing zheng (a traditional Chinese musical instrument). Sometimes I would spread out paintings before me and apprecia

54、te them. At that time I feel myself placed in the scenery drawn in the pictures. Though human beings are occasionally confronted with natural disasters a derive great pleasure from roaming leisurely in the open country.(explanation p.9). Looking at the imposing mountains, the green trees and the vag

55、ue clouds and smoke in the painting, I find myself staying with the Sage and the Wise of all times and conversing with them. Various kinds of wonderful illusions come into my mind, delighting me as well as contenting me. Is there anything in the world more wonderful than this? The answer is undoubte

56、dly negative. In An Introduction to landscape Painting (), with the example of Mount Kunlun, Zong Bing 宗炳gives detailed explanation of the perspective methods and other drawing principles. This is in fact the systematic presentation of Zong Bings drawing theories. 3.The perspective theory of Zong Bi

57、ng 宗炳宗炳in the 5th century of China An Introduction to landscape Painting () gives detailed accounts about the theory and methods of projection. It is written in the preface, “Because the mountains are huge in size and humans eyes are small, it is impossible to get a whole picture of the mountain if

58、the observer stands close to the mountain. However, the observer can do 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 the eyesight becomes larger. If we place a piece

59、 of white transparent silk cloth in front of us, we can see that the huge mountain can be presented in the cloth which is only several cun wide and several cun long. Therefore, a vertical line on the silk cloth can represent the height of several thousand chi, while a horizontal line may be equal to

60、 the length of several hundred li. The mountain here refers to Mount Kunlun, while the transparent silk cloth is a kind of white light silk used for painting. This part has already been mentioned previously and here we would probe into it more closely. First, it is said because the mountains are hug