Qing Dynasty high-definition calligraphy and painting special topic 丨 Wang Yi's "Antique Landscape Album" Appreciation [Landscape Knowledge] Chinese landscape painting adopts a bird's-eye view of the moving point of view, that is, scattered perspective, also known as mobile viewpoint perspective, movement

Qing Dynasty high-definition calligraphy and painting special topic 丨 Wang Yi's "Antique Landscape Album" appreciation

【Landscape Knowledge】

Chinese landscape painting adopts the aerial view method of moving viewpoint, that is, scattered point perspective, also known as mobile viewpoint perspective, moving point perspective, and swimming point perspective. This perspective belongs to the generalized perspective category, including longitudinal perspective, oblique perspective, overlapping method, near large and far small method, near shrinkage method, air perspective method, color perspective method and so on. Vertical perspective, in which objects that are far away from the viewer, are painted on objects that are close to the viewer, which is the same as the high-distance method in landscape paintings. Oblique perspective is an object that is far away from the viewer extending upward along the oblique axis, similar to the "standing vision" perspective method in the Han portrait stone. The overlap method, the near large and far small method, and the near shrinkage method are the commonly used methods for expressing the spatial relationship between landscape and water scenes in landscape painting. The air perspective method is similar to the "three far" principle proposed by Han Huo. As for the color perspective method, landscape painting pays attention to yin and yang, virtual reality, and thickness, all of which are aimed at expressing the changes in scenery due to air and distance, but do not deliberately pursue the cold and warm changes in the color of objects under a specific light source.

The viewpoint of scattered perspective is not fixed, and can be freely moved up and down, left and right according to the needs of performance, emphasizing wandering, mental vision, framing with imagery, and creating scenery according to the situation, this form of expression can better meet the needs of painters "walking", "looking", "traveling" and "living". Zong Bing said in the "Preface to Painting Landscapes": "If the Kunlun Mountains are large and the pupils are small, and the eyes are forced to look at the inches, then their shape is invisible; For miles, you can surround your eyes. If you go a little wider, you can see that it is small. Now Zhang Xiusu is far away, then the shape of Kun Lang can be enclosed within a square inch. Zong Bing appealed to the principles of size, height, distance and perspective in landscape painting to express the "natural trend". Wang Wei said in "On Landscape and Water": "Zhangshan ruler tree, inch horse divides people." Distant people have no eyes, distant trees have no branches, distant mountains have no stones, and they are faint as eyebrows; There is no wave in the far water, and the height is in line with the clouds. Including Guo Xi's "Three Distant Methods", all of which are discussions on the perspective and composition of the picture. The painter can obtain the greatest degree of freedom in framing and composition, so that the picture space is larger and the scene space is larger.

Landscape painting not only follows the law of perspective, but also does not adhere to the field of view of focus perspective, which is an emotional expression that repeats the cycle, follows the trail and settles in nature. The actual selection of landscape paintings "feasible" and "hopeful", and the objective portrayal of "swimtable" and "habitable" all require a reasonable layout of the picture and the composition of the scenery to have its position orientation, so as to achieve the visual effect of "swimming". These techniques of traditional landscape painting can not only help painters to "move the natural scenery to the sky" to the picture, but also make the scene in the picture more general than the natural form.

(Excerpt from: "Spatial Composition of Traditional Chinese Landscape Painting" 丨 Author ◎ Wang Xiaolime)