Constructing the extension window of game activities: the construction and extension of scenery

A landscape painting is to decorate the indoor wall with familiar outdoor images. Some people's windows in their homes can't provide a view of the distant countryside, so they can hang paintings, prints or photos as compensation for lost things; Indeed, the more we live in a city, the more we cherish this kind of artificially reproduced natural scenery. Because we can't see all this from our window anymore. As an English writer pointed out, he made a survey of the prevalence of landscape painting in the late 18th century ―― it was during this period that modern industry and urban civilization in the West took a step of development:

painters came to the depths of the mountains; Searching for the themes he wrote, he brought home the landscapes from these places, which are not only suitable for his art, because they are more moving than those regular landscapes ... They are also easier to be accepted by customers, because compared with the daily scenery in the urban environment, these landscapes are very pleasant ... Indeed, the beauty of landscape painting is that it can bring distant scenery whenever and wherever-when this landscape is full of wild interest and difficult to reach. And this reappearance has been regarded as a daily necessity. [1]

A framed landscape painting replaces the scenery covered by a window frame, which is an image instead of reality, both of which can make us realize how far away from "nature" we are. Inside our home, we are more and more aware of "indoor" and "outdoor", and more aware of these two estranged worlds. If we are lucky, the window facing the outside world can give us a distant glimpse of the countryside-there are gardens, orchards, fields, woodlands and mountains-and it can also provide us with bright light and fresh air. The connection between home life and vivid natural resources and the aesthetic pleasure of beautiful scenery makes landscape images have a special position. Artists can't draw or photograph the light and fresh air themselves, but they can reproduce various forms that are illuminated and activated by these basic factors: the shining sunlight on the river, or the netted spots and shadows reflected on the ground between branches and leaves, the trees bent in the breeze, and the lake wrinkled by the breeze. Invisible light and air are precious necessities for the inner room life of our home. Now, with the help of the form of substances they touch, illuminate and activate, they have been reproduced in landscape paintings.

in this paper, we will study a series of western paintings from different periods and traditions to study the aesthetic impression when the scenery is in harmony with the indoor scenery. Under these circumstances, this relationship is so frequently influenced by our dual feelings of "indoor" and "outdoor"-broadly speaking, it is the eternal relationship between "people" and "nature".

during the renaissance, Italian painter Antonio lo? Da? In Autonello da Messina's "Hieronymus in the Study" [Figure 1], the above viewpoint is exemplified in an interesting way. Through many window holes, the outside world illuminates the room: the three windows at the top introduce light into the domed upper space, while the windows at the bottom make people see the scenery with hills, and through the arches in the foreground, we can see all these scenes. In this way, we enter the room through a kind of frame formed by buildings-it frames the picture in the shape of an altar painting-and then we meet deeper frames, which lead us to the outdoor world.

This painting brings appreciation of perspective. Through careful organization of floor tiles and lines, and careful arrangement of the right colonnade and the ground, the perspective of the picture can be formed. There is a vertical line starting from the top of the arch in the center, vaguely passing through the pillar in the center of the window, and then passing through the book opened by Jerome, forming the design of focus perspective. Everything is exactly parallel to the plane direction of the picture: the arch, the space of the study, the back wall, Jerome himself sitting on one side, the peacock, the grouse and the cat on the side. Only the lion broke this way strikingly. All this stems from the interest of the Renaissance: I have great confidence in human rationality and related order.

In outdoor scenery, this geometric form of composition is still mostly used. The sunlit walls of rivers, boats, towns, or monasteries, as well as the closed gardens nearby, as well as the roads that pass in front of these things, are all parallel to the plane direction of the picture, and are cut by some oblique lines, which echo the perspective lines starting from the arch: the inclined boat slurry and the roads leading to the hills. Almost everything in the painting follows this strict geometric way, except for some objects on the book case and the round outline of Jerome's portrait and clothes-they are specially arranged changes to attract attention to the theme of the picture. This violation of the straight line principle is echoed in the ups and downs and round shapes of the scenery seen in the two windows.

The outdoor scenery in the picture has a loose and round appearance, but they are subject to the regularity of the interior, which is the reflection of the strict mind of the saints and scholars as the main focus. With the line of sight experiencing successive layers of open frames in the depth of the picture, this property has been fully developed. In all this, "indoor" and "outdoor" are clearly distinguished: for this orderly and complex space, the landscape plays an uncontrollable "external" comparative role in the distance. But it can't interfere with Jerome's quiet research, and his mind is completely in his own hands.

Next, when we visit Christopher? After A Canopy by Christoffereckeberg (1783-1853) [Figure 2], we will find that the scheme of forming a frame and the dual expression of indoor and outdoor are different and contrasted with the above works. Eichberg is a Danish painter, but he painted many works about Italian scenery in the 19th century. In A Canopy, we find that "indoor" and "outdoor" are mixed together, and this mixture may indeed be what the painter is interested in. The viewer must be in a walled garden, and the sunlight is transmitted from the interwoven leaves on the vine, forming a cool feeling, which contrasts with the hot feeling of the outdoor scenery. Sunlight from the rattan frame is treated soft and moist to achieve harmony with the gray wall. When we enter another space from one space in the picture, there is still a mixed relationship between nature and artifacts, indoor and outdoor, casual and formal, freedom and enlightenment, just like Da? Like Messina's works [Figure 1], the viewer is in an absolute center position, while the basic building facilities are kept parallel to the plane direction of the picture. This kind of situation starts with erect and cross-supported scaffolding, then passes through high walls and doorways, goes out to reach the low wall, and then stretches out to reach the long farmhouse exposed to the sun in the distance. The perspective lines of paving stones and vines have also been carefully arranged, and the main frame formed by the doorway has been emphasized, with straight edges. One frame after another, it is related to? The difference between Messina's works lies in the harmonious coexistence of natural form and architecture; This is a more moderate picture. The external countryside is full of vitality, but the closed garden imposes a kind of benevolence and loose limitation, and the human mind is no longer above nature.

as far as the general view of western art history is concerned, landscape painting originated in northern Europe. The life of northern Europeans is mostly spent indoors, so it is greatly different from the life of residents in the Mediterranean region of southern Europe, where it is much more convenient to walk between indoor and outdoor. Therefore, people in northern Europe are particularly fascinated by easing the sharp difference between indoor home and outdoor scenery, which may help to understand why landscape art originated in northern Europe. The motif of the scenery in front of the window is sometimes accompanied by a figure standing in front of the window and staring at the distance. This is the preference of Nordic romantic painting, which represents the desire of the soul to break out of the imprisonment and to liberate the imagination and explore the vast region full of sunshine. This motif, as a critic pointed out, "makes the most direct contrast between the confinement indoors and the vast outdoor space ... The window is like an entrance and a barrier at the same time." [2] The effect of a window frame surrounding the landscape emphasizes the sense of distance from the outside world both culturally and visually. This sense of distance and frame caused by indoors. It can even make the most ordinary scenery different.

take the German painter Frye Devic as an example? Vasman's "Scenery at the Window" [Figure 3] is an example. The window frames are painted in different shades of brown at will, but there are some details on the left. Once out of the square of this window, there is no strict horizontal or vertical line outside, instead, it is a continuous undulating outline, even the brush strokes become loose and free and light, which is used to show the setting sun reflected by the mountain shape and the mountain edge. The scenery in the distance is the shining yellow sky and the blue gentle and continuous mountains, which have a color saturation and romance beyond natural vision. Under the dull brown background inside the viewing room, they are strengthened, and the interior will be Especially the farmhouse in the center of the picture on the foreground hillside strengthens the contrast and connection between this kind of indoor and romantic outdoor scenery: if we can look out from the window of that farmhouse, what kind of scenery will we see? What will your life be like when you are surrounded by such scenery?

In the above, we have understood the different harmonic effects of windows on "indoor" and "outdoor". From the Renaissance to the 19th century, the aesthetic feeling produced by this effect has changed greatly, which explains the origin of landscape painting to a great extent. However, once the painters get out of the room and are completely in the scenery, they face another problem. We can learn from John? Christine? It is understood in the works of Johan Christian Dahl, 1788-1857) [Figure 4]. This painting depicts a broad and detailed view of the Bay of Naples and Mount Vesuvius from a window. The window in the painting has two functions. On the one hand, this painting is more like a tourist's record of famous scenic spots, and less romantic. It contains another kind of significance of the scenery in front of the window: it is a confirmation of the scenery. The reason why a window frame is included in this picture is to emphasize that this is a real scenery. On the other hand, we should pay special attention to the fact that the window frame also serves another purpose in this painting: its edge helps to limit the extension of the scenery on both sides. As long as the viewer takes a step forward in the painting, we will turn our heads to the left and right, because at this time, the scenery will have a curved nature of panoramic painting. But just like in the painting, when we keep a little distance from the window, these will form a "landscape" that can enter the flat picture, which brings convenience to landscape painters and is very worthy of attention. It solves the problem of how to obtain an ideal composition when the painter is completely in the outdoor landscape. In fact, when artists face the infinite nature directly with people's longing for scenery, they still have to make judgments, limitations and choices by their own minds.

As a popular fashion in the 18th century, the same is true for tourists who travel around Europe by carriage and enjoy picturesque scenery. At that time, in order to appreciate the scenery along the way with an elegant vision of painting art, they took the Claude mirror [Figure 5] and sat in the carriage, roaming between mountains, lakes and fields. Claude mirror is actually a portable landscape frame with optical advantages. This kind of frame is to miniaturize the larger convex mirror used by painters in the studio for outdoor use, and put it in a leather case. This kind of convex mirror (oval, round or square) can show a fairly broad landscape in a frame, but the scene reflected in it is of course compressed and deformed, and the vertical lines on both sides of the original landscape will slightly bend on both sides of the mirror. The effect of modern wide-angle lens cameras is the same. If the tourist finds a suitable viewpoint, he or she can regard the scenery in the foreground as the corner structure of the picture, and the audience's line of sight will move to the middle scene and the distant view. The characteristics of the convex mirror will bend the vertical lines of these foregrounds slightly inward, so that these foregrounds form a natural side view and a "landscape painting" because of their centripetal nature and the enclosure of the central part. Looking out from the window of the carriage and capturing the scenery outside the window with a framed mirror, tourists can regard the outside world as "a series of pictures" waiting to be fixed for people to enjoy. In other words, it is the method and way that we must use to make "scenery" into "art". In Paul? Sandeby (173-189) painted "Scenery of Midro County" [Figure 6], in which tourists did just that. Sandeby described the activities of aristocratic women to capture pictures, and they were using a camera box to get pictures of the farmers and their mothers on the bridge. For these amateur artists, through the use of lenses and mirrors, the scenery that one of the women is capturing has been processed and finally shot on the mirror of square imaging in the form of a picture.

Entertainment, which was exclusively enjoyed by the upper class as an esoteric appreciation activity in the 18th century, has become a very common habit among modern tourists ―― cameras, DV and scenery DVDs. In the 6th Kassel Literature Exhibition in Germany in 1977, a huge installation work was exhibited [Figure 7], which showed the way that "landscape" became "art" to a great extent. They consist of two frames. The location is a highland overlooking a park and a river valley. According to a description, these two frames have brought shocking different landscapes: "Through the larger frame, you can see a green landscape of a wide river valley, and when you pass through the smaller frame, this landscape has been changed, and the smoke in between occupies a position and the city is spreading around." [3] The author also commented on the habit of using frames:

This device frames a random landscape. Our first consideration is to make the audience realize that he may not necessarily react to the daily things around him or realize their existence unless these things are consciously "framed". Secondly, we should make them pay special attention to the urban landscape in a small framework, because in this area, there is a landscape that has developed something that they have not fully realized.

after we understand the basic way of "landscape" becoming "art", we can then examine various schemes adopted and designed by paintings in different periods according to this method.

in neoclassical painting