敦煌壁画与西方绘画出现焦点透视的分析

An Analysis of the Focus Perspective Applied in the Dunhuang Frescoes and Western Paintings

针对西方传统的线性透视——焦点透视法的出现时间,提出并论述了我国在盛唐时期(公元713年左右)和中唐期间,敦煌壁画莫高窟、榆林窟同样出现了焦点透视法,足足比西方早700年。不相同的是二者在绘画上,各自选择了视向不同的焦点透视法。敦煌壁画更是采用了多视向的焦点透视法。敦煌壁画盛唐时期和西方采用的线性透视,他们都不自觉地注意到客观中存在着透视现象,又以他们特有的方式去处理,通过其敏锐的视觉特点及审美天性暗示着这一点。

Based on the time when the traditional Linear Perspective -- Focus Perspective appeared in the western paintings, this paper argues that the Focus Perspective can also be found in the Dunhuang Frescoes, Mogao Grottoes and Yulin Grottoes during the thriving period of the Tang Dynasty （ about A.D.713 ） and the late Tang Dynasty, which is 700 years earlier than that in the western world. The difference between the Focus Perspective in the western paintings and that in the Tang Dynasty is that different view directions were respectively adopted in the application of Focus Perspective. In the Dunhuang Frescoes, multiple view directions are found to be utilized. The painters of the Dunhuang Frescoes unconsciously noticed that there existed the phenomena of perspec- tive in the objective world and they dealt with them in particular methods of their own, which is implied in their sensitive vision and aesthetic nature.