enkinhou　遠近法

KEY WORD :　art history / paintings

Perspective. In Western art perspective derived from 15c developments in science, and the problem of representing 3-dimensional objects on a 2-dimensional surface. The problem was solved by a firm grasp of the concept of realistic space and the development of a one-point perspective toushi-gahou 透視画法. In Asia perspective was not founded on science, but on how man looked at nature. Every Chinese painting rendered space and distance using primitive methods: objects perceived to be close at hand were drawn larger than distant objects; objects close at hand were placed in the lower area of the painting surface and distance ones in the upper area; and object positioning was shown by lining up objects in front or behind one another. In 11c China, Kuo Hsi (Jp; Kaku Ki 郭熙) defined three areas of compositional space for landscape *san'en 三遠 in his Lofty Message of Forests and Springs RINSEN KOUCHI 林泉高致: high distance looking up at a mountain peak from a point at its base; and deep distance, looking from the front of a mountain over and down the other side to the back. This compositional methodology was passed on to artists in Korea and Japan. The important Western concept of one-point perspective was introduced to Japan during the 18c along with other scientific discoveries. Artists of the Maruyama school *Maruyama-Shijouha 円山派 and some of the literati took an interest in Western painting perspective and acquired proficiency.

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