Hainan Sculpture

It is not difficult for those who have received sketch training to master plane perspective, while it is not so easy to do perspective on mud. In the past relief teaching process, it was also found that some students in the drawing stage of relief sketching began to use a knife to draw on the mud with perspective first along with the composition, because it was still flat, at this time the perspective was generally "painted" correctly. However, with the deepening of the overall steps of the relief and the increase of the thickness level, the perspective will gradually disappear when the relief starts to move towards three-dimensional. Finally, the perspective effect of the relief body will be replaced by the true thickness of the round sculpture. It can be seen that students who have only received training in sketch and sculpture are still accustomed to two extremes in the spatial expression of reliefs: either a completely planarized perspective treatment, or the real volume of sculpture to shape, and they are not so understanding and understanding of the expression form and perspective treatment between the two, In other words, it is still difficult to show some understanding. Therefore, in order to deal with the perspective relationship of relief, we can only deepen our understanding and understanding of it through more analysis and research through classroom training.

Therefore, the deepening of the levels from drawings to reliefs should follow the laws of near thickness and far thinness, near large and far small, near reality and far emptiness. On the basis of plane perspective, only the thin and thick levels and undulations should be deepened and adjusted while the contour should always remain unchanged. Only in this way can we further shape it.

In addition, because of compression and perspective, reliefs, compared with round sculptures, differ in thickness of the body and form a certain slope change law in the face of the body. For example:

When a head is sculpted by round sculpture, its basic shape is a right angled cube. When compressed into relief sculpture, the basic shape will become a flat square or flat rhombus to varying degrees. And each face of it will also form different degrees of slope due to the changes in the perspective of the body, and form an inverse ratio with the width of the face. If we divide the basic shape of the head portrait into six sided rhombus, then due to different visual angles, the width and slope of the face and side faces will change due to different perspective angles. The wider the face, the smaller the slope of this face; On the contrary, the narrower the face is, the greater the slope of the face is. Even if the front and back sides of the head are embossed, the two sides of the head will form a deep rise. That is to say, the face of the basic shape can change with different visual angles from the slope to the position, and has certain rules.

From the above analysis, we can see that perspective and position play an important role in the performance of relief. Therefore, if you want to shape reliefs well, you should carefully study, clarify and learn to master them. Everything has duality. As a plastic arts, relief has both its scientific perspective and some perceptual factors in vision. At the same time, compared with sculpture, relief has similarities in understanding the relationship between form and space, and also has huge differences in form and performance.

Unlike the round sculpture, the relief sculpture is not a direct expression of the image and shape, but a three-dimensional image that is seen and perceived. Through the analysis and understanding of the brain, it will eventually be transformed into a three-dimensional relief image. Therefore, only an objective understanding of the relationship between the shape and space of the relief sculpture, a careful study of the compression principle and perspective law of the relief sculpture, and more observation More analysis can make the relief as reasonable, true and natural in vision as possible, make the three-dimensional relief similar to the round sculpture, and make the relief art more perfect and ideal in performance.

Scattered perspective, which is commonly used in ancient Chinese painting, is also commonly used in the composition of large relief scenes. It can organically combine shapes seen at different locations without being restricted by the visual field, and can also organize images seen at different times, which enriches the composition form of relief painting creation.