San-en

These are the principles of perspective or composition in Chinese landscape painting: high, deep, and flat. They are explained in the painting treatise Linquan Gaozhi by the Northern Song Dynasty painter Guo Xi. In other words, there are three methods for depicting mountains: high is the view from the bottom of the mountain looking up at the peak, deep is the view from the front of the mountain looking behind it, and flat is the view of a distant mountain from a closer mountain. The colors of high are clear and bright, the colors of deep are heavy and dark, and the colors of flat are various in light and dark. Both of these methods of depiction and composition were first theorized by Guo Xi in the Tang Dynasty, and continued to be followed in Chinese landscape paintings until the Qing Dynasty when the six methods of perspective, wide, mysterious, and mysterious, were added, making them more complex. This is a unique method of painting in Chinese painting that is completely different from the perspective of Western painting.

[Shinichi Nagai]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

中国の山水画の遠近法ないしは画面構成の原理である高遠、深遠、平遠をいい、北宋(ほくそう)の画家郭煕(かくき)の画論書『林泉高致』で説かれている。すなわち、山を描くのに三遠の法があり、山の下から山頂を仰いだ見方が高遠、山の手前から山の後方をうかがいみる見方が深遠、近い山から遠い山を望見したありさまが平遠であるとし、高遠の色は清く明るく、深遠の色は重く晦(くら)く、平遠の色は明暗さまざまであるという。この描法・画面構成はいずれも唐代に始まり、郭煕が理論化したもので、その後も中国山水画で踏襲され、清(しん)代までにはさらに闊遠(かつえん)、迷遠、幽遠が加わり複雑化して六遠となる。西洋画の遠近法とはまったく異なる中国画独自の画法である。

［永井信一］

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