| 探微西方绘画构图的沿革 |
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| 引用本文： | 裘凤. 探微西方绘画构图的沿革[J]. 衡阳师专学报, 2008, 0(5): 167-169 |
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| 作者姓名： | 裘凤 |
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| 作者单位： | 安徽师范大学美术学院,安徽芜湖241000 |
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| 摘 要： | 构图是视觉艺术中不可或缺的要素之一，古今中外，画家们历来时构图问题津津乐道，不厌其烦地反复探求。西方古典绘画的构图是建立在透视准确的基础上的，把透视法则作为构图依据。到了19世纪，西方传统写实主义绘画体系开始瓦解，现代派画家用主观表现替代客观再现，不再把酷肖自然与否当作评判美术作品高下的标准，构图也不再以透视法则作为依据，逐渐地取消三维空间，构图平面化也成为现代绘画的一个重要特征。
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| 关 键 词： | 构图 透视 平面趋势 |
On Evolution of Western Picture-composition |
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| QIU Feng. On Evolution of Western Picture-composition[J]. Journal of Hengyang Normal University, 2008, 0(5): 167-169 |
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| Authors: | QIU Feng |
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| Affiliation: | QIU Feng (College of Fine Arts, Anhui Normal University, Wuhu Anhui 241000, China) |
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| Abstract: | As one of the indispensable elements in visual arts, composition has been a hot topic all through history both at home and abroad. In the western world, picture composition is based on accurate perspectives. In 19th century, western traditional realism paenting was on wane, modernism painters replaced objective image with subjective image. Accordingly, picture composition was no longer based on perspective. Three-Ds gave way to flat composition. |
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| Keywords: | picture compositon perspective trend to flat composition |
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