傳統繪畫中的空間表現

Representation of Space in Traditional Chinese Paintings

劉思量(S-Lain Liu)

《藝術評論》 12期 (2001/12) Pp. 203-239

摘要

本文從視覺特性出發，分別論述視覺空間、畫面空間、心理空間與物理空間之關係。畫面空間實際上是物理空間的模擬，試圖在畫面中呈現出視覺與心理的虛擬三度空間。根據此項理論，對照西方美術理論對畫面空間之看法，重新檢視中國傳統繪畫表現空間的三個主要問題：一、物象立體感之表現與空間關係；二、畫中景深與層次感之表現；三、傳統繪畫「三遠法」之歷史演進與學理上之辯正。
在中國傳統創作理論中，畫中造形之立體感，須明察事物之凹凸、陰陽，藉助線條的輕重與墨色的明暗，加以表現。
在中國傳統畫論中，對於畫面空間深度之處理，各代作者的論點包括：視距遠近及視野寬窄決定了畫面取景的大小；「經營位置」；畫中景物，必須以遠近、詳略、清晰與模糊之對比加以表現，以造成視覺空間之縱深；以畫中人物大小作為度量樹木山石、屋宇比例參照之標準；墨色的遠淡近濃表現出空間的遠近；處理畫中景物之向背、濃淡、繁疏以呈現空問的層次等等。
畫面中的視角(eyo level)、視線、視距、視野的安排，一般概稱為「取景」。取景必須顧及視角與距離。取景在西洋繪畫中又稱之為投影。西洋繪畫中之投影法(Projection)技術，是依據立體物像之比例大小，距離遠近，將其影像投射在平面畫紙上。不同於西方的投影法，傳統繪畫多半採取45至60度俯視角取景，並以畫幅下端不變、抬高調整畫幅上端角度的方式，分別以平視角、高視角、俯（深）視角攝取不同景物的物像。並將所謂「平遠、深遠、高遠」的「三遠」同時安排整合在一個畫面中。此種取景方式，可稱為「視角變動畫法」或「多視角畫法」。

關鍵字

繪畫 ； 空間 ； 透視 ； 三遠法

並列摘要

This paper examines the interpretation of space in terms of its visual aspects by looking at the connection between physical and psychological space in reference to the represented space in a painting. The artistic representation of space in a painting is actually a simulation of physical space, which endeavors to present a virtual three-dimensional space both visually and psychologically. The above theory will be supported by a comparison of related western art theories dealing with the representation of space. This paper provides guidelines for discussion as related to the following three issues dealing with representation of space in traditional Chinese paintings:
1.The representation of three-dimensional objects and its relation to space
2.The representation of perspective and depth in a painting
3.The historical development and dialectics of traditional Chinese art theory of ”three distances”
In traditional Chinese creative theories, the representation of three-dimensional objects relies on the observation of convexity and concavity, yin and yang, which is transferred into the highlighting and shadowing of strokes and the thinness (bright) and thickness (dark) of ink.
In traditional Chinese art theories applied to paintings, observations of critics through history on the management of spatial depth include:
• Viewing distance and width of viewing angle determine the size of the landscape.
• Managing positions and locations
• In order to have spatial depth, the objects in a painting must show contrast in terms of closeness and farness, details and brevity, clarity and obscurity.
• The size of the people in a painting is the criterion for the proportion of trees, rocks and houses.
• The thinness and thickness in the use of ink indicate closeness and fatness respectively.
• Spatial depth is constructed by the interplay of frontal and back light sources, the use of light and dark ink, quantity of strokes, etc.
The setting of eye level, angle, distance and range is generally known as framing. Framing determines both the viewing angle and distance. In Western painting this is also know as projection. This technique projects an image on a two-dimensional canvas according to the proportion of the object's size and distance. However, traditional Chinese paintings generally adopt the 45 to 60 degree bird 's-eye angle as the basic framing device with the bottom foreground remaining unchanged while adjusting the upper part of the painting to a wider angle to take in objects from three angles, eye level, inclining, and bird's-eye view. Therefore, the three distances of horizon, depth, and height can all be incorporated into one frame. This technique of framing can be called ”angle-shifting” or ”multi-angle” method.

並列關鍵字

Chinese painting ； space ； perspective ； depth ； projection ； virtual space