逆向透視練習
Reverse Perspective Study
逆向透視畫法（reverse perspective）大量出現在拜佔庭藝術品和早期文藝復興作品中。如果說正向的透視畫法是製造幻覺的技術，那麼逆向透視就是它的相反：這種技術並不以在二維的平面上製造人類肉眼能觀察到的三維視覺效果為傲。在這種技術的操控下，畫面上遠處的物體更大，近處的物體更小。但是，並沒有確切的證據說明當時的藝術家們是有意識地使用這種關於空間的技法。大量早期逆向透視畫更像是透視的知識還未徹底傳播和統治西方世界的產物，一種由於對世界的局部觀察而導致的技術失誤，或者是一種對宗教意義和構圖的追求。
而在今天，逆向透視是一種針對過度制幻效果的矯正術，被廣泛應用於調整相機鏡頭導致的圖像變形上。因為相機鏡頭和人眼球的構造不同，在相機製造出過度畸變的圖像以後，人們可以在許多圖像軟體（比如Photoshop）裡找到這一功能，將圖像的變形縮小到更近似肉眼所見的效果。我們或許可以這樣說，在文藝復興以前，逆向透視是一種技術上的不足；今日，這種不足剛好可以用來對技術造成的過度進行修正。（想想今日過度的制幻技術到底在做什麼？我從未用肉眼看到過一個廣角鏡頭下的世界，也從來沒在現實生活中看到過HD視屏裡那樣銳利的畫面。）
我因此很感興趣這種全然拒絕幻覺的技術，從而製造了一系列嚴格以逆向透視畫法繪製而成的椅子。我使用了合成木板、木工鉛筆、天然木染料和木蠟油，這些都是在今天用來製造一把真實椅子的材料。每一張繪製著椅子的木板都剛好是原本椅子背板的尺寸（24×645×1200mm）。畫面上的椅子從這一張背板開始，向畫面的前方逐漸縮小。這件作品可被看作是用一種極其嚴謹的錯誤手段完成的結構素描，或是一個根本不想變成最終成品的椅子草圖。
Reverse perspective painting appeared prolifically in Byzantine artworks and early Renaissance works. If point-projection perspective painting is a technique for creating optical illusions, then reverse perspective is its opposite: a technique that does not pride itself on creating three-dimensional visual effects on a two-dimensional plane that can be observed by human eyes. Under the manipulation of this technique, objects that are far away on the picture are larger and objects in the near distance are smaller. However, there is no definitive evidence to state that artists of the time were consciously using this technique with regard to space. A great deal of early reverse perspective painting is more a product of the fact that the knowledge of perspective had not yet thoroughly spread and ruled the Western world, a technical failure due to a limited view of the world, or a pursuit of composition and religious meaning.Today, reverse perspective is a correction technique for excessive illusionary effects, and it is widely used to adjust image distortion caused by camera lenses. Because camera lenses and human eyes are built differently, after the camera has created an overly distorted image, one can find this function in many photo editing software (such as Photoshop) to reduce the distortion of the image to something that more closely matches what is seen by naked eyes. We might say that before the Renaissance, reverse perspective was a technical deficiency, yet now it can just be used to rectify the excesses caused by technology. (Consider what the excesses of today's illusion-making technology are actually doing. I have never seen the world with my naked eyes in the same way that wide-angle lenses have, and I have never seen a picture as sharp as the ones on the HD screen in real life.)I was therefore intrigued by this technique of total rejection of illusion and thus created a series of chairs that were painted strictly in reverse perspective. I used plywood, carpenter pencils, natural wood dyes and hardwax oil, all of which are the materials that will be used to make a real chair today. Each of the plywood with chairs painted on is exactly the size of the original chair back (24 x 645 x 1200mm). Starting from this backboard, the chairs in the picture gradually shrink towards the front of the picture. This artwork can be seen as a structural sketch done with a very stringent error, or a sketch of a chair that is not intended to be the final product at all.感謝來自前行美術館和P8星球的朋友們的支持，讓我完成了從小時候學素描開始，到後來在大學裡做建築抄繪的時候，一直想試一試的事情。上一次說起「我想畫嚴格逆向透視的物件」這句話，還是在讀研期間和柏鳴一起上建築繪畫課的時候。從那天說這麼一句到今天，又過了十年了。這十年裡，我對透視有了完全不同的看法。但我很清楚，有一些可能對別人來說是愚蠢的執念，對我而言就是一定要完成的事，所以我真的很感激這兩個機構的朋友願意支持我做完它，同時感謝Peggy對這篇短文的校對和八赫的英文翻譯。有任何疑問 / 對李維伊個人有興趣 / 超想投資她兩個億