歡迎來到中國藝術歷史+3D古畫電子教學平台
一、選擇你感興趣的畫作的3D模型
二、使用你的鼠標點擊畫面上的方向標示，旋轉移動3D模型，從不同角度查看畫作
三、在新標籤或窗口中打開原畫，透過比較3D模型和原畫，以了解畫家的視角
四、在3D模型中，嘗試找到與原畫匹配的角度和視點
具體玩法請參考示範影片：YouTube: https://youtu.be/uPiLsGswhtE
用家會在《乾隆西域戰圖十六：凱宴成功諸將士》中找到一個視角，在唐代敦煌莫高窟217窟的壁畫（節選）、《明皇幸蜀圖》、《谿山行旅圖》和《千里江山圖》（節選）中找到多個視角。
學習一點透視法和動態多元視角法透過找到古畫中不同的視角，用家從中學習中國藝術史的知識，即中國古代畫家在傳統古畫所用的動態多元視角法和西洋古畫所用的一點透視法，以比較兩者異同之處。
一點透視法是西洋古畫中常見的構圖方法，是模仿人眼實際看到的立體三維空間的形象，從而表現在二維平面上的繪圖方法。在一點透視法中，距離越近的物體在視覺上越大，相反，距離越遠的物體視覺上則越小，而本來在現實生活中平行的線條，呈現在二維平面則變為相交，最終消失變成一點，如同照相一般。如下圖中鐵軌的照片，本來應是平行的鐵軌，呈現在二維平面的相片時則變為了相交於遠處的黃色消失點。
運用一點透視法構圖的作品，會嚴守一個特定的視點去表現景物，運用近大遠小的透視現象，因此作品的空間感、立體感較強。然而由於只有一個特定視點，畫作的視域和人眼固定不動時能看到的範圍一致，視域角度過大過闊的景物則不能包括到畫面中。 而古畫《乾隆西域戰圖十六：凱宴成功諸將士》正是運用了一點透視的構圖方法，用家透過操作3D模型，可找到唯一一個畫家的視角。
動態多元視角法是中國古畫的一個特別的構圖方法，包含多重意味。其一，畫家的視角是不斷移動的，因此在一幅畫中會有多個視點。在表現景物時，可以將一點透視法所呈現的近大遠小的效果通過多視點處理，將景物呈現為平列且同等大小，因此畫家得以將本身不能一眼望盡的景色表現在同一畫幅中；其二，畫家還將多種觀察角度融入同一畫裏，在一幅運用了動態多元視角法的畫中，我們可以欣賞到畫家從俯瞰、平視、仰視等不同觀察角度而描繪的景象。譬如《千里江山圖》，畫家王希孟運用不同視點、不同的觀察角度，將千里江山的連綿山水和山水間的漁村、水榭、草舍、長橋等豐富的場景描繪在長達近十二米的畫卷中。其三，畫家在一幅畫中描繪不同時間、地點出現的人物、景物等，這種方法稱為異時同圖。透過這種構圖方法，可以在一幅畫中表現多個故事情節，某些佛教壁畫即運用此方式，讓不同讀寫程度的信眾能看圖理解佛經，實現佈道傳教之目的。如敦煌莫高窟第217窟的壁畫正是採用異時同圖的方法，描繪了《佛頂尊勝陀羅尼經》序文中佛陀波利自西土而來、路遇文殊化現的老人、返西土取經、取經歸來、入宮獻經、西明寺譯經、隱跡於五台山的內容。
一點透視法重視空間的營造感，因此畫作逼真立體，如同拍照一般；而動態多元視角法則不拘泥於一個視點，傳統的中國畫并不是沒有採用透視法，而是根据需要採用多個焦點透視。畫家會透過不同的視點、不同的觀察角度、甚至不同時間的景物來表現畫作，打破空間、時間的限制，就像動畫一般。
學習古畫背後的中國歷史課題透過探索研究五幅古畫的3D模型，用家不但可以從中學習中國古代藝術的動態多元視角法，還可學習相關的中國歷史科課程大綱中的課題。
透過唐代敦煌莫高窟217窟的壁畫(節選)，用家可以從壁畫中出現的西域人物形象等學習唐代佛教與中國文化的交融，又從該壁畫的供養人身份研究分析唐代當政者和佛教傳播的關係；透過《明皇幸蜀圖》中描繪唐玄宗在安史之亂時潼關失守，玄宗逃往四川的景象，學習安史之亂與唐代衰亡的課題；透過研究《谿山行旅圖》和《千里江山圖》（節選），用家可以學習宋初統一後重文輕武的國策制定和北宋的經濟發展這兩個課題；而研究《乾隆西域戰圖十六：凱宴成功諸將士》，則可透過畫中描繪的平定西域戰事和畫家郎世寧的背景，學習清朝歷史、統一多民族國家的鞏固發展、以及明清時期基督教傳播的特色這些課題。
原畫連結：唐代敦煌莫高窟217窟的壁畫（節選）：莫高窟 第217窟 主室南壁 右上角
《乾隆西域戰圖十六：凱宴成功諸將士》：（北京）故宮博物院 郎世寧等平定西域戰圖冊之凱宴成功諸將士
Find the artist's perspective(s) by rotating the 3D Models
Step 1. Select a 3D model of the artwork you are interested in.
Step 2. Use your mouse to click on the direction indicators on the screen to move around in the 3D model and to view the artwork from different angles.
Step 3. Open the original artwork in a new window, and compare the 3D model with the original artwork to understand the artist's perspective(s).
Step 4. In the 3D model, try to find the angles and viewpoints that match with the original artwork.
You can also view our demonstration video here:
YouTube: https://youtu.be/uPiLsGswhtE
For Qianlong’s Military Campaign into the Western Regions: A Victory Banquet Given by the Emperor for the Commanders and Soldiers, look for one specific perspective. For the other paintings, find out multiple perspectives.
One-point perspective and dynamic multi-perspective paintings
By exploring different perspectives in ancient paintings, users can learn about Chinese art history, specifically the dynamic multi-perspectives used by ancient Chinese painters and the one-point perspective employed in Western classical paintings, as well as the differences between the two compositional methods.
One-Point Perspective: One-point perspective is a common compositional method in Western paintings since the Renaissance. It is a technique that mimics the way the human eye perceives three-dimensional space and represents it on a two-dimensional plane. In one-point perspective, objects that are closer appear larger, while objects that are farther away appear smaller. Furthermore, on the two-dimensional plane, lines that are parallel in reality converge and ultimately vanish into a single point, much like in a photograph. In the photo of the railway tracks below, the tracks, which are supposed to be parallel, appear to intersect at the distant yellow vanishing point when presented in a two-dimensional format.
Artworks composed using one-point perspective strictly adhere to a specific viewpoint to depict scenes, utilizing the visual principle of objects appearing larger when closer and smaller when farther away. This gives the work a strong sense of space and depth. However, because it relies on a single specific viewpoint, the field of view in the painting is limited to what the human eye can see when fixed in one position, scenes with a wide angle of view cannot be included in the painting.
The painting of Qianlong’s Military Campaign into the Western Regions: A Victory Banquet Given by the Emperor for the Commanders and Soldiers uses a one-point perspective composition. By manipulating the 3D model, users can find the single viewpoint of the artist.
Dynamic Multi-dimensional Perspective: The dynamic multi-dimensional perspective method is an interesting compositional technique in ancient Chinese painting, encompassing multiple meanings. First, the artist's perspective is constantly shifting, resulting in multiple viewpoints within a single painting. When depicting scenes, the one-point perspective effect of objects appearing larger when closer and smaller when far away can be handled through multiple viewpoints, presenting the scenes as parallel and of equal size. This allows the artist to depict an expansive landscape within a single painting.
Second, the artist incorporates various visual trajectories into the painting, we can appreciate scenes drawn from different angles such as bird's-eye view, eye-level view, and worm's-eye view. For example, in selected portions of A Thousand Miles of Rivers and Mountains, the painter Wang Ximeng used different perspectives and visual trajectories to depict the continuous mountains and rivers of “a thousand miles,” as well as the rich scenes of fishing villages, pavilions, thatched cottages, and long bridges between the mountains and rivers, on a nearly twelve-meter-long scroll.
Third, the artist depicts characters and scenes from different times and places within a single painting, a method known as "various temporal points within the same painting 異時同圖." Through this compositional method, multiple storylines can be expressed within a single painting. Some Buddhist murals use this approach to enable devotees of varying literacy levels to understand Buddhist scriptures through the paintings, thereby achieving the purpose of preaching. For example, creators of the Cave 217 of the Mogao Grottoes in the Tang Dynasty used the method to depict the stories in the Uṣṇīṣa Vijaya Dhāraṇī Sūtra, including scenes of Buddha-pāla coming from the west, encountering an elder manifested by Manjusri, returning to the west for scriptures, coming to China again with scriptures, offering scriptures to the royal court, translating sutras in the Ximing Temple, and living in seclusion in Mount Wutai.
One-point perspective emphasizes the creation of space, making the artwork appear realistic and three-dimensional, much like a photograph. In contrast, the multi-dynamic perspective does not adhere to a single viewpoint. Traditional Chinese painting does not avoid using perspective; rather, it employs multiple focal points as needed. Artists express their works through different viewpoints, various angles of observation, and even scenes from different times, breaking the constraints of space and time, much like animation.
The Chinese History Curriculum
By exploring and studying the 3D models of the five ancient paintings, users not only learn about the dynamic multi-dimensional perspective techniques of ancient Chinese art, but also study topics related to the Chinese History Curriculum.
Cave 217 of the Mogao Grottoes from the Tang Dynasty: Users can learn about the integration of Tang Dynasty Buddhism with Chinese culture through the depiction of figures from the Western Regions in the murals. Additionally, by analyzing the identity of the murals' patrons, users can study the relationship between Tang Dynasty rulers and the spread of Buddhism.
Emperor Xuanzong’s Journey to Sichuan: This painting depicts Emperor Xuanzong of Tang fleeing to Sichuan during the An Lushan Rebellion. Through this artwork, users can study the topics of An Lushan Rebellion and the downfall of the Tang Dynasty.
Travelers Among Mountains and Streams and selected portions of A Thousand Miles of Rivers and Mountains: By examining these two paintings, users can learn about the topics of policies of emphasizing civil over military affairs during Northern Song Dynasty and the economic development of the Northern Song Dynasty after its unification.
Qianlong’s Military Campaign into the Western Regions: A Victory Banquet Given by the Emperor for the Commanders and Soldiers: This painting depicts the pacification of the Western Regions and provides a background on the painter Giuseppe Castiglione (Chinese name: Lang Shining). Through this work, users can study the topics of the consolidation and development of the multi-ethnic state of the Qing Dynasty as well as the characteristics of Jesuit missionaries during the Ming and Qing periods.
By engaging with these 3D models, users can gain a deeper understanding of both the artistic techniques and historical contexts of these significant periods in Chinese history.
Hyperlinks of the original artwork:
Cave 217 of the Mogao Grottoes from the Tang Dynasty: 莫高窟 第217窟 主室南壁 右上角
Emperor Xuanzong’s Journey to Sichuan: （台北）國立故宮博物院 唐人明皇幸蜀圖 軸
Travelers Among Mountains and Streams: （台北）國立故宮博物院 谿山行旅圖
Selected portions of A Thousand Miles of Rivers and Mountains: （北京）故宫博物院 千里江山圖
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