000			03482nam a22003257a 4500
999			_c146556 _d146556
003			GR-PaULI
005			20221013102241.0
008			200831s2012 enka|||| |||| 00| 0 eng d
020			_a9780262017749
040			_aGR-PaULI _bgre _cGR-PaULI
041			_aeng _hita
082	0	4	_a741.018 _223
100	1		_9182603 _aScolari, Massimo _d1943- _eσυγγραφέας.
245	1	0	_aOblique drawing : _ba history of anti-perspective / _cMassimo Scolari ; introduction by James S. Ackerman ; translated from the Italian by Jenny Condie Palandri.
260			_aLondon, England ; _aCambridge, MA : _bMIT Press, _c[2012]
300			_axiii, 389 σ. : _bεικ. ; _c24 εκ.
490	1		_aWriting architecture
504			_aΠεριλαμβάνει βιβλιογραφικές αναφορές και ευρετήριο
505	0		_a 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.
520			_aFor 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.
650		0	_9182604 _aΑξονομετρική προβολή
650		0	_9182605 _aΠλάγια προβολή
650		0	_9133723 _aΣχέδιο _xΤεχνική
700	1		_925631 _aAckerman, James S. _eσυγγραφέας προλόγου
700	1		_9182606 _aPalandri, Jenny Condie _eμεταφράστρια.
765			_iΜετάφραση του : _tDisegno obliquo.
830			_aWriting architecture _9166601
942			_2ddc _cBK15
998			_cΚΗΠΟΥΡΓΟΥ _d2020-08