uomo vitruviano
Vitruvian Vitruvian Vitruvian was the surname of a Roman engineer in the early 1 century, and his full name was Kyle Vitruvian Pollio. At that time, he wrote an architectural masterpiece called "Ten Chapters of Architecture", which included urban planning, engineering technology and architectural art in Rome. Because there was no uniform measurement standard for buildings at that time, Vitruwei talked about applying the natural proportion of human body to the measurement of buildings in this book, and summarized the proportion law of human body structure.
The importance of the "Ten Chapters of Architecture" was rediscovered in the Renaissance, which ignited the glorious flame of classical art. Under this background, Leonardo da Vinci wrote a comment, and Vitruvian Man was his illustration for this comment around 1485. Accurately speaking, "Vitruvian Man" is a sketch, which has been regarded as one of Leonardo da Vinci's most famous masterpieces since its publication and is collected in the Venice Institute of Italy.
The composition of Vitruvian people consists of a circle, a square and a naked man: the sideline below the square is circumscribed on the circumference, and the circumscribed point is just the midpoint of this sideline; The human body lies supine in the overlapping range of a circle and a square, the vertex of the head is tangent to the upper edge of the square, and the tangent point is just the midpoint of the edge; Feet together at the tangent point between the circle and the lower edge of the square, torso perpendicular to the upper and lower edges of the square, hands horizontally extended 180 degrees, and fingertips of both hands just reach the left and right edges of the square and are perpendicular to it. On this basis, the human body presents a second posture in the picture, with feet separated and soles intersecting with circles; Hands up to the intersection of the upper edge of the square and the circumference, just as high as the top of the head. The whole human body, whether in the first posture or the second posture, the circle and the square are very symmetrical.
People attach importance to the symmetry and harmony of this painting. For many years, the basic composition of this painting has been regarded as a symbol and decoration of modern pop culture, and it has been widely used in various posters, mouse pads, T-shirts and so on.
In fact, showing the symmetrical beauty of the human body is not the whole intention of this painting. Careful people will also find that in addition to the outline of the human body, some tangents are drawn on the trunk and limbs. These tangents are drawn in key parts of human body: the tangents of trunk are between knee joint, genital root, chest (tangents intersect with two nipples) and shoulders. In the posture of horizontal extension of hands, tangents are also drawn on the wrists, elbows and shoulder joints of both hands. These tangents are the dividing lines of human body structure, which are used to explain some regularity of human body structure.
In the blank space above and below the Vitruvian Man, there are notes written by Leonardo da Vinci. These words are the key to understanding this painting. However, in the past 65,438+0,000 years, these characters have not been paid enough attention by China art historians. In many western works of art, including the History of Western Art, these explanatory words are not mentioned, and when this painting was published, the words on the top and bottom of the picture were cut out, so that readers could not see the words.
The Vitruvian Man is a pen-and-ink sketch, drawn on a large piece of paper (13.5×9.5 inches), which is now in the College Art Museum in Venice. The reason why Vla Jokang hid in Venice is probably because Vlajokang printed a folio of Vitruwei's works in Venice many years ago 15 1 1, which contained a print made according to this sketch. The sketch is covered with fine print. The words on the picture are written like this:
Architect Vitruwe said in his architectural works that nature's arrangement of the proportion of human body is as follows: four fingers are one palm, four palms are one foot, and six palms are one elbow [refers to the length of forearm, which comes from Latin elbow, and four elbows are the whole body. ...
These body proportions are taken from the first chapter of Volume III of Vitruwe's Ten Books on Architecture. The back of the book is more and more detailed: "the length of the tip of the middle finger from the elbow to the hand is one-fifth of the height;" The length from elbow to armpit is one eighth of the height ... "Below the sketch is a scale made with fingers and palms as the unit.
The picture depicts a person posing in two obviously different postures, corresponding to two sentences in the picture. The posture of feet together and arms stretched horizontally explains the following sentence in the sketch: "The width of a person's outstretched arms is equal to his height." The person in the picture is therefore placed in a square with 96 fingers (or 24 palms) on each side. Another man spread his legs and raised his arm slightly, expressing a more professional Vitruwe's law:
If you spread your legs apart, lower your height by a quarter and raise your arms until the tip of your middle finger is flush with the top of your head, you will find that the center of your extended limbs is your navel, and an equilateral triangle will be formed between your legs.
The person posing in this position in the painting is wrapped in a circle with the navel as the center.
One of the charms of this sketch is the interaction between abstract geometry and observed physical reality. Only the main parts of the human body are drawn in the painting, but the outline is beautiful and the muscles are strong. This person's foot actually seems to be stepping on the bottom of a square or leaning against an arc. These two postures give people a sense of movement, perhaps the movements of gymnasts, but in fact a person is swinging his arms up and down, just like a bird flapping its wings. The lines of the human body are clear and simple, but the treatment of the face is somewhat different. The face is painted deeper and the shadow is painted more dramatically: this is a dazzling face in front.
Some people will wonder if this vitruvian is the author's self-portrait. Think about it carefully, maybe not, because the sketch was drawn in 1490, and the people in the painting look far more than 38 years old. Another possibility is that this face explains the proportion of the human body described below, for example, the distance from the hair root to the eyebrows is equal to the distance from the tip of the chin to the mouth. In this sense, this face is perfect and plays an exemplary role. However, this painting seems to be a perfect interpretation of the above-mentioned abstract symmetry law of biological geometry, so it seems that this serious-looking person in the circle should be a big shot, not a nobody. His eyes are deep, his eyes are sharp, his hair is thick and curly, and his hair is parted in the middle. At least I should say that this Vitruvian contains a self-portrait, which embodies the harmony of nature and the only person who can understand these truths-artist, anatomist and architect Leonardo da Vinci.