rdf-syntax-grammar
mods:
  schema location: http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
  title info:
    title: Oblique drawing
    sub title: a history of anti-perspective
  name:
    name part: Scolari, Massimo
    name part: 1943-
    role:
      role term: creator
    role:
      role term: συγγραφέας.
  name:
    name part: Ackerman, James S.
    role:
      role term: συγγραφέας προλόγου
  name:
    name part: Palandri, Jenny Condie
    role:
      role term: μεταφράστρια.
  type of resource: text
  origin info:
    place:
      place term: enk
    place:
      place term: London, England
    place:
      place term: Cambridge, MA
    publisher: MIT Press
    date issued: [2012]
    date issued: 2012
    issuance: monographic
  language:
    language term: eng
  language:
    language term: ita
  physical description:
    form: print
    extent: xiii, 389 σ. : εικ. ; 24 εκ.
  abstract: For more than half a century, Erwin Panofsky's Perspective as Symbolic Form has dominated studies of visual representation. Despite the hegemony of central projection, or perspective, other equally important methods of representation have much to tell us. Parallel projection can be found on classical Greek vases, in Pompeiian frescoes, in Byzantine mosaics; it returned in works of the historical avant-garde, and remains the dominant form of representation in China. In Oblique Drawing, Massimo Scolari investigates "anti-perspective" visual representation over two thousand years, finding in the course of his investigation that visual and conceptual representations are manifestations of the ideological and philosophical orientations of different cultures. Images prove to be not just a form of art but a form of thought, a projection of a way of life. Scolari's generously illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance images of machines and military hardware, architectural models and drawings, and illustrations of geometrical solids. He challenges Panofsky's theory of Pompeiian perspective and explains the difficulties encountered by the Chinese when they viewed Jesuit missionaries' perspectival religious images. Scolari vividly demonstrates the diversity of representational forms devised through the centuries, and shows how each one reveals something that is lacking in the others.
  table of contents: 1. Elements For A History of Axonometry -- 2. Spatial Illusionism in Pompeian Wall Paintings -- 3. Oblique Drawing -- 4. The Idea of Model -- 5. Brunelleschi's Model for the Dome of Santa Maria Del Fiore And the Gherardi Drawing -- 6. Demonstration Figures -- 7. Machinations -- 8. Soldierly Perspective -- 9. Drawing in Paralleli Modo -- 10. The Jesuit Perspective In China -- 11. The Tower of Babel: Form And Representation.
  note: Massimo Scolari ; introduction by James S. Ackerman ; translated from the Italian by Jenny Condie Palandri.
  note: Περιλαμβάνει βιβλιογραφικές αναφορές και ευρετήριο
  subject:
    topic: Αξονομετρική προβολή
  subject:
    topic: Πλάγια προβολή
  subject:
    topic: Σχέδιο
    topic: Τεχνική
  classification: 741.018
  related item:
    title info:
      title: Disegno obliquo
  related item:
    title info:
      title: Writing architecture
  identifier: 9780262017749
  record info:
    record content source: GR-PaULI
    record creation date: 200831
    record change date: 20221013102241.0
    language of cataloging:
      language term: gre