期刊名称：Espacio, Tiempo y Forma. Serie VII, Historia del Arte
印刷版ISSN：1130-4715
电子版ISSN：2340-1478
出版年度：2019
期号：7
页码：17-40
DOI：10.5944/etfvii.7.2019.26188
出版社：Universidad Nacional de Educación a Distancia (UNED)
摘要：Con la diffusione della prospettiva lineare, l’architettura divenne uno dei principali temi di studio degli artisti rinascimentali. La necessità di rappresentare architetture credibili impose ai pittori di imparare a disegnare come gli architetti, combinando piante e alzati e applicando le regole proporzionali e morfologiche tramandate da Vitruvio. I trattati di prospettiva accolsero sistematicamente mirate istruzioni sul disegno degli edifici, così come i trattati di architettura dedicarono spazio alla rappresentazione prospettica, considerandola come una disciplina corrispondente a ciò che Vitruvio chiamava «scaenographia». A sancire lo stretto legame tra la prospettiva dei pittori e la scenografia vitruviana fu principalmente Daniele Barbaro che compose il suo celebre trattato di prospettiva come approfondimento del tema che tanto lo aveva impegnato nel suo altrettanto celebre commento a Vitruvio. Abstract With the spread of linear perspective, architecture became one of the main disciplines studied by Renaissance artists. The need to represent credible architecture forced painters to learn how to draw like architects, combining plans and elevations and applying the proportional and morphological rules handed down by Vitruvius. The treatises of perspective systematically welcomed instructions on the design of buildings, just as the architectural treatises dedicated space to perspective representation, considering it as a discipline corresponding to what Vitruvius called «scaenographia». To establish the close link between the perspective of painters and the Vitruvian scenography was mainly Daniele Barbaro who composed his famous treatise on perspective as a deepening of the theme that had so busy him in his equally famous commentary on Vitruvius.
其他摘要：With the spread of linear perspective, architecture became one of the main disciplines
studied by Renaissance artists. The need to represent credible architecture forced
painters to learn how to draw like architects, combining plans and elevations and
applying the proportional and morphological rules handed down by Vitruvius.
The treatises of perspective systematically welcomed instructions on the design
of buildings, just as the architectural treatises dedicated space to perspective
representation, considering it as a discipline corresponding to what Vitruvius called
«scaenographia». To establish the close link between the perspective of painters
and the Vitruvian scenography was mainly Daniele Barbaro who composed his famous treatise on perspective as a deepening of the theme that had so busy him
in his equally famous commentary on Vitruvius.
关键词：Prospettiva lineare;Architettura;Proporzioni;Geometria;Disegno; Vitruvio;Scenografia = Linear perspective;Architecture;Proportions;Geometry;Drawing methods;Vitruvius;Scenography.
