著者

山田 浩之 乾 由明 森谷 尅久 三木 稔 三好 芫山

出版者

文化経済学会〈日本〉

雑誌

文化経済学会〈日本〉論文集 (ISSN:09194738)

巻号頁・発行日

vol.1996, no.2, pp.13-25, 1996-03-20 (Released:2009-12-08)

著者

乾 由明

出版者

日本美術工芸社

雑誌

日本美術工芸 (ISSN:09119221)

巻号頁・発行日

no.458, pp.p24-30, 1976-11

著者

山田 浩之 乾 由明 森谷 尅久 三木 稔 三好 芫山

出版者

Japan Association for Cultural Economics

雑誌

文化経済学会〈日本〉論文集 (ISSN:09194738)

巻号頁・発行日

no.2, pp.13-25, 1996

著者

乾 由明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.10, no.2, pp.48-62, 1959-09-30

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Representation of the three dimensional space on the plane is an attractive, but difficult subject for many painters of all the ages. It seems that the linear perspective, devised by Quattrocento architects and painters in Italy, is the most exact and popular method of spatial representation. But there are other ways to depict the illusion of space in the picture. Roman landscape paintings, for example, show an atmospheric pictorial space. If we classify the representation of the space into three types that is, one on the retina by the function of eyes (visio perspectiva), on the plane by the linear perspective (scientia perspectiva) and on the canvas by the creative painters (ars perspectiva)-ancient style of the spatial representation corresponds the type of visio perspectiva. It is, of course, a characteristic style in art history, but has possibility to develope in two ways, one to the linear method of perspective of Renaissance, the other to the uncontinuous ideal space of Middle Ages, especially Byzantine and Romanesque paintings.

著者

乾 由明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.10, no.1, pp.48-52, 1959-06-30