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The aim of this dissertation is to review the features of linear perspective and its origins in Antiquity, focused on the presuppositions of linear perspective, that is to say, the confinement of pictorial space from the single fixed viewpoint of the ideal beholder. This is also the starting point from which Renaissance painters proceeded along a different route compared to the ancient Greeks whom we consider the forerunners of linear perspective. The basis of linear perspective is that vision is registered at the central point of the observer’s eye and the picture is a plane and vertical intersection of the visual pyramid. This concept reveals the intimate relation between this particular representational style and the science of optics. One main resource is Euclid’s “Optica”, which Renaissance painters and scholars adopted eclectically. The intimate connection between this method and classical geometrical optics is observed in the history of the Latin term “perspectiva”. It was used for Greek geometrical optics in the medieval western society, but later in the 15th century it extended to the field of painting. On the other hand, the concept of perspective in Antiquity is considered a practical device for architects and painters, as we depend on the description of Vitruvius on scaenographia in “De architectura”. Although the debates of modern scholars are mainly focused on the literal interpretation of the controversial phases, the real issue in this conflict should be studied in relation to archaeological sources. There are abundant examples that reveal the advanced technique of foreshortening and three-dimensional rendering in Antiquity. The main category concerns the illusionistic architectural paintings in the houses and tombs from the late classical and Hellenistic periods. One outstanding example is the Tomb of Lyson and KallikIes where architectural elements are depicted in a peculiar form of linear perspective. Also there are figure paintings in the royal tombs in Vergina that reveal the original state of perished monumental painting. These examples indicate an advanced technique of depicting spatial depth through the correlated disposition of the individual figures.
In contrast to the state of the ancient perspective, the developing stages of the Renaissance linear perspective-particularly the rudimentary form of the 15th century-show a clearly defined movement towards an objective. The Albertian method for reconstructing pictorial space is the compounded result of traditional studio-practice and the knowledge of ancient geometrical optics that artists and scholars accumulated during the late mediaeval period. The confinement of the station-point in linear perspective is both the key and a restriction to the painter’s practice. To obtain a realistic effect of three-dimensionality and to build it with wholeness are its intentions. However within the scheme of the artificial perspective these two aims collide on how to conform the position of the actual viewer with that of the ideal viewer. The entire history of European painting from Antiquity to the Renaissance illustrates a continuous attempt to deal with this issue. It is often said that the painter’s expression became emancipated from the domination of linear perspective in Modern times, and that the movement of Cubism is one instance that served to destroy the absolute norm of linear perspective. However, the movement that questioned the correctness of pictorial representation was not restricted to one instance in the history of European painting. The descriptions of Plato and Vitruvius on the method of optical refinement applied by ancient architects, painters, and scholars, show us the ceaseless pursuit for a solution to the discrepancy between actual visual perception and the representational image that is the crucial issue in ancient art. A survey of the development of linear perspective in Antiquity shows the western tradition of scientific methodology. The developing stages of linear perspective in European art, which is based on the limitation of time and space, reveals the continuous concern of artists to endow this subjective experience with physical certainty and objective correctness.
In contrast to the state of the ancient perspective, the developing stages of the Renaissance linear perspective-particularly the rudimentary form of the 15th century-show a clearly defined movement towards an objective. The Albertian method for reconstructing pictorial space is the compounded result of traditional studio-practice and the knowledge of ancient geometrical optics that artists and scholars accumulated during the late mediaeval period. The confinement of the station-point in linear perspective is both the key and a restriction to the painter’s practice. To obtain a realistic effect of three-dimensionality and to build it with wholeness are its intentions. However within the scheme of the artificial perspective these two aims collide on how to conform the position of the actual viewer with that of the ideal viewer. The entire history of European painting from Antiquity to the Renaissance illustrates a continuous attempt to deal with this issue. It is often said that the painter’s expression became emancipated from the domination of linear perspective in Modern times, and that the movement of Cubism is one instance that served to destroy the absolute norm of linear perspective. However, the movement that questioned the correctness of pictorial representation was not restricted to one instance in the history of European painting. The descriptions of Plato and Vitruvius on the method of optical refinement applied by ancient architects, painters, and scholars, show us the ceaseless pursuit for a solution to the discrepancy between actual visual perception and the representational image that is the crucial issue in ancient art. A survey of the development of linear perspective in Antiquity shows the western tradition of scientific methodology. The developing stages of linear perspective in European art, which is based on the limitation of time and space, reveals the continuous concern of artists to endow this subjective experience with physical certainty and objective correctness.
목차
1. 서언
2. 초기 르네상스 선 원근법 체계와 고전 기하학적 광학
3. 스케노그라피아: 무대 배경화
4. 고대 건축 회화
5. ‘회화적’ 원근법의 문제점
6. 결언
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