學刊論文
Chinese Perspective as a Rational System: Relationship to Panofsky’s Symbolic Form

中華心理學刊 民100,53卷,4期,371-391
Chinese Journal of Psychology 2011, Vol.53, No.4, 371-391


Christopher W. Tyler(Smith-Kettlewell Eye Research Institute);Chien-Chung Chen(Department of Psychology, National Taiwan University)

Abstract

The goal of this overview is to take a critical look at the use of geometric perspective in Chinese art through the millennia. Although its use is often considered to be disorganized and uniformed, Chinese perspective is seen to follow well-prescribed principles and to follow a rational solution to the problem of depicting perspective in the extended scroll formats adopted in this culture. Its dominating principle is that of oblique orthographic perspective (in which transversals are shown as horizontal and receding orthogonals conform to a uniform oblique). In a little-known relaxation of this scheme beginning in the 13th century, many Chinese paintings incorporate a notable degree of convergence among orthogonals within local regions of a scene, ameliorating the strong illusion of divergence that is perceived in the strict orthographic scheme. This subtle form of oblique convergence seems likely to have been developed to compensate for this divergence illusion. A corresponding compensation can also be found for the converse effect that can be noted in perspective illusions such as the Shepard illusion, which shows a paradoxical reduction in the perceived size of far elements such as table legs. The widespread employment of these stylistic choices in Chinese painting is evaluated in
the framework of Panofsky’s characterization of perspective as a symbolic rather than literal form of space representation and of its role in the culture of the imperial courts of the Chinese dynasties. 


Keywords: convergence, illusion, orthographic, perspective, scrolls

 

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