What is the phenomenon of the scenery on the forest path? What is it called in art? What is the concept?

The scenery on the forest path has the phenomenon of large near and far small, near high and far low, near real and far virtual; this is called focus perspective in art.

Focus perspective

Some of the things we use in painting composition are focus perspective. The principle of focal perspective is that based on the height of the human eye (viewpoint), a radial cone is formed when viewed. The figure cut off by the cone on the screen is the focal perspective. The scenery within this cone is What the human eye can see clearly is called the visual circle. The intersection between the horizontal plane passing through the viewpoint and the picture is the eye level. The human eye is like a camera. The farther away the east and west areas are, the smaller they are reflected on the retina. , a point that disappears on the tree trunk line in the extreme distance is called the vanishing point. The closer things are, the bigger they will naturally be. This is what Zong Bing said in "Preface to Painting Landscapes": "The sixth part of Qifu Kunlun, the sixth part of Tongzi." "Small, if you press your eyes to an inch, the shape will not be beautiful. If you are close to several miles, you will be able to see it. If the city is a little wider, it will become smaller." It can be seen that at that time, it was realized that the distance is too small and the distance is too small. The principle of perspective.

The characteristics of this perspective must strictly follow the restrictions of the viewpoint. When the viewpoint is high, the scenery will go below the eye level, forming a bird's-eye view composition. There are many, because it is easier to describe the panorama and there are fewer physical obstacles. There is also a perspective and visual line in the middle of the picture, and all vanishing points fall on the horizon line in the middle of the picture. This kind of perspective material obstruction. There is more overlap than bird's-eye view, which often obscures the spread of the mid-range scenery due to the large close-up view, but its advantage is that it has a strong contrast between far and near, making the scenery far-reaching. To paint majestic buildings or express great figures, there is a sense of loftiness. Li Cheng, a landscape painter in the Song Dynasty, once used this method to paint cornices. Shen Kuo called this painting method in his book "Mengxi Bi Tan". It's called "lifting the corner of the house." Maybe this way of seeing doesn't suit the viewer's habits. Except for photographers, Chinese painters don't use it too much in neat landscape paintings, boundary paintings, and figures. It is very useful in painting. Using focus perspective to paint buildings and interior layouts gives people a sense of stability. As for the perspective layout in landscape paintings, it generally also contains the principle of focus perspective. Those who paint things, whether they are thousands of rocks and ravines, or deep forests, are skilled in craftsmanship. Because they can move freely and vividly, they can appreciate thousands of scales. , Unless you adopt the Western method, you must not exhaust its principles to create its observation pole. "Even when painting a rough and freehand painting, as a series of basic knowledge, it cannot be ignored for beginners.

The most straightforward example: if you observe the street lamps in life, they will become smaller as they are farther away. The heads and feet of the two rows of street lamps are connected in four straight lines and then converge to one point. That point is the focus. This situation is Focus perspective. This is the case with the small trees in the forest, but the lack of street lights makes it feel more literal.