By Margaret A. Hagen
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Additional info for Dürer's Devices: Beyond the Projective Model of Pictures. The Perception of Pictures
Sample text
There is nothing in the perceptual process itself to restrict this choice and each option is perfectly consistent with the existence of natural perspective. The pictures produced by each choice share the common geometrical core of natural perspective, each is perceptually "truthful" and nonconventional in its depiction of the momentary appearances of things. However, the direction of the selection, if not the range of options, is indeed culturally determined or conventional; thus, w e have been misled frequently into believing the resulting pictures themselves conventional.
There are, of course, various solutions to this problem but there are none w h i c h are solely perspectival. For example, it may be argued that projective ambiguity is resolved by reference to the context of the projection. That is, static projections of most ordinary scenes in ordinary environments can usually be only projections either of those scenes or of pictures of them, or also of displays so outlandish as to be only the creations of a perceptual psychologist. Thus, projective ambiguity itself is really more a matter of formal analysis than of everyday experience.
Multiply the distance a couple of times and the perspective convergence of the object becomes trivial. In a striking w a y , the effects are very similar to the telephoto effects discussed by Lumsden in The Perception of Pictures, V o l . 5, a hanging scroll from the Muromachi period (fourteenth-fifteenth century), w h i c h depicts a Fujiwara family ancestor on a sacred white stag with a Shinto mirror emblem (magatama) of Imperial authority rising above the branches. W h i l e it is perhaps unreasonable to argue that sacred mirror emblems must maintain certain consistent relative size relationships with other objects, the similarity between this painting and telephoto shots of rising moons and suns is irresistible.