Abstract
Drawing and representational media are means for artists, designers and architects to convey ideas or narratives happened in places. In the architectural field, architects utilise drawing media to represent physical architectural spaces or to demonstrate their viewpoints on spatial configuration. Since the invention of perspective in Renaissance, architectural spaces presented through perspectival drawings could have been regarded as essential means for constituting narratives and religious stories in specific spaces. On the other hand, the traditional Chinese landscape painting is created by non-perspective way and which suggests imaginative or poetic manners of representation due to different cultural and philosophical background. This paper thus firstly intends to discuss the difference of cultural representation of spatial configuration in the pictorial composition between the two drawing media. As varied drawing medium implies different viewpoint of composing the scenes and stories presented in pictorial images, this paper argues that the difference of spatial representation in drawing media may also suggest different approaches of spatial narration and the unfolding of events in the scenes. Following the development of contemporary moving images and digital media, dynamic and multiple ways of presenting spatial configurations or narratives have been generated. The paper would finally ask what the cultural transition of spatial narration could be forged by the development of modern drawing media. Could specific cultural identity of traditional drawing media be transformed into modern presentation when the artist and the viewer’s viewpoint is fully dominated by digital tools?
Author Information
Ching-Pin Tseng, National Sun Yat-sen University, Taiwan
Paper Information
Conference: ACAH2017
Stream: Humanities - Aesthetics, Design
This paper is part of the ACAH2017 Conference Proceedings (View)
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