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我国古代不曾有系统的透视理论,界画继承了中国传统绘画的填充构图方式。界画艺术和中国传统建筑园林设计以相同审美情趣为共同追求,以相同构图思路为对话基础,在解决如何精确表现建筑之美这一问题上形成了独特的处理方法。界画采用远观、俯视的角度呈现建筑和环境的整体,简化线条关系;以环形和轴线形两种中国传统建筑和园林平面布局的秩序为处理界画建筑群与环境之间关系的一般法则;以一组建筑群侧面线条保持平行关系的方式取得建筑群内部的统一;发挥“共用形体”的连接、隔断作用和意义上的模糊性,将画面组织成饱满的整体。
In ancient China, there was no systematic perspective theory. The boundary painting inherited the traditional Chinese painting’s filling composition. The art of boundary painting and traditional Chinese architecture and garden design are based on the same esthetic interest. They use the same compositional thinking as the basis for dialogue and form a unique approach to solving the problem of how to accurately represent architectural beauty. The boundary picture uses the perspective of afar and overlook to present the whole of the building and the environment, simplifying the relationship between the lines; the general rules of the relationship between the architectural community and the environment of the boundary painting are based on the order of the layout of the two traditional Chinese buildings and gardens in the form of circular and axis-shaped structures. To obtain the unity of the interior of the building group by means of maintaining the parallel relationship between the side lines of a group of buildings; to exert the connection, partitioning function, and the sense of ambiguity of the “shared body,” and to organize the pictures into a full body.