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Renaissance perspective

2019-11-05 来源: 51Due教员组 类别: Paper范文

下面为大家整理一篇优秀的paper代写范文- Renaissance perspective,供大家参考学习,这篇论文讨论了文艺复兴时期的透视法。透视法是文艺复兴时期绘画体现新视角的重要手段,它的使用改变了中世纪绘画空洞单一的背景,使逼真生动的现实世界和客观自然成为神存在的背景。同时创造了更为多样的构图,打破了中世纪绘画呆板单一的构图样式,在视觉上为我们创造了更加丰富的美感体验。

Renaissance perspective,文艺复兴时期透视法,essay代写,paper代写,作业代写

Renaissance paintings show a new perspective different from medieval paintings, the most important reason is the innovation and development of perspective. Through the application of natural light and scientific perspective techniques, the artist vividly depicts the real natural world and brings a new perspective different from that of medieval paintings.

The word "perspective" is translated from the Latin "Perspcire", meaning "to see through". According to historical records, the 5th century BC in ancient Greece, perspective was born. Vitruvius, the ancient Roman architect in the 1st century BC, once mentioned this problem in his architectural renderings.

It really became a science in the 1520s during the Renaissance, when it was widely used by artists. Among them, Italian architect brunelleschi's "focal point" penetrating theory system made an important contribution to the formation of perspective theory. The painters chimabue and giotto di bondona studied the use of perspective in painting, and massaccio, Andre mantenia and others were also influenced by it and created many amazing works. Since then, a large number of knowledgeable artists and architects have studied perspective. For example, the architect Leon batista alberti proposed in his painting theory that "artists are scientists" and that painting should be based on certain mathematical principles. He also believed that by applying the laws of perspective, artists could scientifically interpret and reproduce nature. Da Vinci and Michelangelo also drew works with a sense of perspective on the basis of predecessors, among which leonardo Da Vinci made an in-depth study on the law of body perspective and color perspective in his work "the theory of painting".

Perspective research and application is the most important part of all the discoveries in the Renaissance. It not only enables artists to display works of art more realistically, but also shows people a new perspective different from that of the middle ages through the use of this technique. Religious paintings in the middle ages did not pay attention to the real depiction of the objective world, but used many techniques such as exaggerated deformation and changing the real spatial sequence to achieve the purpose of strongly expressing the spiritual world. Artists in the Renaissance advocated "imitating nature" and regarded fidelity as one of their important goals. The application of perspective can well realize this and help artists create a new perspective of painting.

The Renaissance, natural status is improved, the power of the people to pay attention to the natural, artists began to deep research to explore the nature, and want to truly portray, klein referred to in the "mathematics" in western culture: "Renaissance painters in the vibrant world grand, pleasant nature, to paint a beautiful picture, a beautiful picture scroll was proved to be the happiness of the material world, is to meet the needs of the natural inalienable rights, is from the earth, air, rivers and oceans bring joy."

The elevation of the status of nature is closely related to neo-platonism. On the basis of plotinus's "tai yi yi", neo-platonism put forward the theory of "overflow", in which "tai yi" can overflow rationality, rationality can overflow soul, and soul can overflow nature. This thought broke the separation between nature and god, and integrated them, forming a belief in the unity of god, nature and man, and forming a mystical pantheism that god and nature are the same. This is different from the medieval scholasticism when nature was created by god and god above everything else. The nature under this thought is divine, it is no longer the humble nature created by god, because it can create itself, can emit great energy, and make the universe full of light and warmth. The elevation of the status of nature makes people change from contempt to admiration of nature and treat it with a kind of attention and inspection.

Therefore, painters began to show nature on a large scale in their paintings. The most significant change was the background of religious mythological figures in this period, which changed from the secular golden light symbolizing infinite eternity and nobility to real things or natural scenery. The painting of the virgin Mary by rojer van der weeden, for example, has a golden background behind it, but the window is a real view, and even two people standing on the bridge looking out at the view beyond.

Light is a natural object that enables us to understand the world, and it is also an abstract existence that makes everything in the world visible. Because of its abstract form, it was endowed with a holy and mysterious meaning in the middle ages. For example, in the age of Pythagoras, "some believers claimed that the dust of the sun in the air was the soul", and it was used as a symbol of god, Christ, truth and virtue and savior in the bible. Later, philosophers and thinkers also paid close attention to it. After the transformation and development of plotinus, pseudo-dionysius and augustine, the interpretation of light evolved into a unique medieval "theological aesthetics of light". It makes the light have the sacred status, become the "holy light", and has a specific meaning, with the aesthetic implication of metaphysics of religion.

In the Renaissance, neo-platonism put forward the view of "sun worship", which was reflected in the importance of the sun's rays. Ficino pointed out in his book on the sun that "nothing reveals the nature of the good more completely than light." They believed that with the sun and the god of similar can replicate, rich fertility characteristics, because it is distributed by the countless great power, can give light, warmth and richness to the universe, the objective existence of the sun to replace the mystery of god, it can prove that people become rational understanding of nature from the perceptual, began to objectively look at the sun and the sun.

People's new understanding of light promoted the development of perspective. In his perspective theory, klein considers the light problem as the most important factor, because the light and shade can help artists better depict the real picture with the sense of space, and it can also put medieval holy figures in the more vivid real world. The background of figures in medieval paintings is mostly golden light. For example, the whole background of duccio's Madonna on the throne is all golden, and the head of the child has a more dazzling golden halo. Renaissance artists also began under the guidance of rational use of natural light in the picture, such as, la Angelina of Notre Dame in Notre Dame led newspaper head although there is a symbol of divine light golden halo, but as printed on the indoor natural light through the window, shows a delicate decoration space for us, the garden is under natural light to shine out of the window appears particularly lively.

In order to accurately depict the real world and pursue realistic painting effect, the artist needs to depict the scene with a certain sense of space on the plane, which needs to apply a variety of scientific mathematical principles, such as Euclidean geometry and so on. The scientific factors in painting are first reflected in the composition of the painting. Composition is the result of rational thinking of artists. Mature geometric composition enables art to find its own rules and get rid of its previous arbitrariness and external framework, thus becoming more mature. Before the Renaissance, "painter painting mainly considering put the owner or sponsor wants to express the theme of the picture of a fixed, in shape picture to picture, around the box and the relationship between frame element is fixed, a form and is closely related to another form within the picture continues, this is self-evident." In the creation of religious paintings, "everything is also arranged in an inherent hierarchy... The Byzantine artist also placed the virgin in the middle, flanked by angels or saints... The artist pays attention to the art of reproduction, which must function with a minimum of sacrifice of order." The basic task of perspective perspective method is to draw a three-dimensional space scene that makes us see in a fixed position and Angle, similar to the scene that our eyes see through a window, on the premise of knowing the size and position of a plane. Based on this point, artists in the Renaissance tried to use scientific perspective and rational spirit in their paintings to explore more vivid composition styles and create new forms that were different from the rigid composition in the middle ages. Among them, masaccio, giotto, Francesca, Da Vinci and Raphael are representative artists. For example, the last supper by Da Vinci takes Jesus as the central axis, and the disciples on both sides are distributed symmetrically. Besides, the disciples also have different combinations, and the indoor layout is also symmetrical. The application of perspective makes people focus on Jesus first, and also makes the picture have a sense of depth and space. Da Vinci's "Santa Anna and the virgin and child" USES a stable triangular composition. The characters are vivid and vivid, forming a complete and stable structure, which is different from the previous rigid composition. The Sistine Madonna is the representative work of the Madonna painted by Raphael. The composition of this painting is an implicit cross structure, which focuses people's eyes on the Madonna. The different poses of the figures on the left and right sides and the shapes of clothes make the picture very vivid. In addition to painting composition embodies the Renaissance artists in the pursuit of the scientific attitude, "the school of Athens" works directly with the content of Raphael express human's praise of the scientific spirit pursuit, it USES perspective focuses attention on the center of the whole picture, then according to the method of geometric composition arrange other characters. Whole picture in st Peter's bramante designed template, will be related to ancient seven liberal arts representative, such as Plato, Aristotle, Pythagoras, grammar master Epicurus, architect bramante, Euclidean geometry home, painters such as sodom, respectively on both sides stand for the goddess of wisdom, Athena statue and the statue of Apollo, the god of music, the whole picture reveals the pursuit of rationality and the atmosphere of wisdom. Raphael designed the background behind the characters as layers of staircases leading to the blue sky, as if they were in the holy heaven. Meanwhile, the scientific achievements of architectural design and perspective are reflected in the whole picture, as well as a miracle of spiritual power.

Perspective is an important method to reflect the new perspective in Renaissance painting. Its use changed the empty and single background of medieval painting, and made the realistic and vivid real world and objective nature become the background of god's existence. At the same time, it creates more diversified composition, breaks the rigid and single composition style of medieval paintings, and creates a richer aesthetic experience for us visually. The emergence of a new perspective of painting cannot be separated from the philosophy of the Renaissance, which created a different thinking from that of the middle ages, triggered the artists' thinking on the new perspective of art, and provided a scientific method to show the new perspective.

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