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纵观界画的历史发展过程,由初期到鼎盛时期,再到没落之时,伴随着不同时代的现实生活反映,界画作为中国绘画的一种传统技艺承接并展现了中国画常采用的透视表现手法——“俯视法”。虽然界画创作在表现体积感和纵深感的三度空间上展现了一定程度上的透视关系,但由于主客观因素并没能发展成科学意义上的透视理论。笔者试图从中西方文化理念上将界画体现的透视现象与西方透视法作比较,探索透视在界画中的表现与消亡。
Throughout the history of the development of the boundary art, from the initial to the heyday to the decline, along with the reflection of real life in different times, boundary art, as a traditional art of Chinese painting, inherits and displays the perspectives commonly used in Chinese painting Practice - “overlooking the law.” Although the creation of boundary painting shows a certain degree of perspective relationship in the three dimensions of expressing the sense of volume and depth, due to the subjective and objective factors, it can not develop into a scientific perspective theory. The author tries to compare the perspective phenomenon reflected in the boundary picture with that of western perspective from the perspective of Chinese and western culture to explore the performance and disappearance of perspective in the boundary picture.