“Turning Pictures” in Shakespeare's England
“Turning Pictures” in Shakespeare's England
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莎士比亚笔下的英格兰“转动的图画”
DOI：
10.1080/00043079.1977.10787371
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发表时间：
1977
期刊：
影响因子：
0.7
通讯作者：
Allan R. Shickman
中科院分区：
文献类型：
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作者：
Allan R. Shickman
威廉·莎士比亚（William Shakespeare）只是偶尔提到绘画艺术，他在《理查二世》（Richard II，1595- 1596）中提到了一种今天鲜为人知的不寻常的绘画风格，但在文艺复兴时期的英格兰，这显然是一种流行的新奇事物。当他写到“正确地凝视的透视图，除了困惑的眼睛歪斜，辨别形式之外，什么也没有显示出来，”他指的是变形透视法的奇特艺术，这是一种需要观看者从倾斜的角度观看的图片，而不是像通常看图片那样正面观看。在这样的作品中，当一个混乱的、令人困惑的形象（因为它是在“正确的注视”下出现的）在人们发现正确的视角时突然以一种适当的形式出现在人们的眼前时，人们就会感到愉悦和惊讶，而这种转瞬即逝的形象往往揭示出一种隐藏的意义。人们普遍认为，莎士比亚是在回应一种变形的类型，1在国家肖像画廊，伦敦爱德华六世的拉长肖像（图2和3）。1和2），位于白色.
William Shakespeare, who only occasionally speaks of the fine art of painting, alludes in Richard II (1595–96) to an unusual genre little known today, but evidently a popular novelty in Renaissance England. When he writes of “perspectives, which rightly gazed upon, show nothing but confusion—eyed awry, distinguish form,” he refers to the curious art of anamorphic perspective, a type of picture that requires the beholder to view it from an oblique angle, rather than head on as one usually looks at a picture. In such a work, pleasure and surprise result when a confused, perplexing image—for so it appears when “rightly gazed upon”—suddenly assumes a proper form before one's eyes as one discovers the correct angle from which to view it. And frequently the fugitive image reveals a hidden meaning. It is widely believed that Shakespeare was responding to an anamorphosis of the distorted type,1 the elongated portrait of Edward VI in the National Portrait Gallery, London (Figs. 1 and 2), which was located at White...