{"id":134452,"date":"2021-06-18T18:32:45","date_gmt":"2021-06-18T16:32:45","guid":{"rendered":"https:\/\/www.drawplanet.cz\/historie-perspektivy\/"},"modified":"2021-06-18T18:45:04","modified_gmt":"2021-06-18T16:45:04","slug":"historie-perspektivy","status":"publish","type":"post","link":"https:\/\/www.drawplanet.cz\/en\/historie-perspektivy\/","title":{"rendered":"Historie perspektivy"},"content":{"rendered":"

P\u0159i hled\u00e1n\u00ed spr\u00e1vn\u00e9ho zobrazov\u00e1n\u00ed prostoru se d\u00edky v\u00fdtvarn\u00e9mu um\u011bn\u00ed rozvinuly techniky, kter\u00e9 se pozd\u011bji vyvinuly v klasick\u00e9 geometrick\u00e9 zobrazovac\u00ed metody, jak je zn\u00e1me dnes.<\/p>\n

U\u017e Egypt\u0161t\u00ed v\u00fdtvarn\u00edci pozorovali, \u017ee postavy v jejich bl\u00edzkosti jsou velk\u00e9 a naopak s rostouc\u00ed vzd\u00e1lenost\u00ed od pozorovatele se zmen\u0161uj\u00ed a\u017e se nakonec zcela “ztrat\u00ed”. Na kresb\u00e1ch, kter\u00e9 zn\u00e1zor\u0148ovali jak\u00fdsi d\u011bj byl v\u017edy \u00fast\u0159edn\u00ed postavou faraon, jeho kn\u011b\u017e\u00ed a \u00fa\u0159edn\u00edci. Fara\u00f3n v\u0161ak vynikal svou velikost\u00ed v pop\u0159ed\u00ed, kn\u011b\u017e\u00ed byli men\u0161\u00ed, voj\u00e1ci je\u0161t\u011b men\u0161\u00ed a \u00fapln\u011b nejmen\u0161\u00ed byli \u0159adov\u00fd lid\u00e9. N\u011bkdo si tak m\u016f\u017ee myslet, \u017ee po\u010d\u00e1tkem perspektivy jsou pr\u00e1v\u011b tyto kresby. Postavy jsou kresleny mimo\u0159\u00e1dn\u011b realisticky, av\u0161ak jen z profilu a bez pou\u017eit\u00ed perspektivy. Jedn\u00e1 se tedy o v\u00fdznamovou perspektivu, co\u017e znamen\u00e1, \u017ee Egyp\u0165an\u00e9 zd\u016fraz\u0148ovali velikost\u00ed hodnost nebo moc ka\u017ed\u00e9 postavy, proto je fara\u00f3n nejv\u011bt\u0161\u00edm.<\/p>\n

\"\"
\nDal\u0161\u00ed pokus o perspektivu najdeme ve Vatik\u00e1nu, kde staro\u0159\u00edmsk\u00e1 freska, zvan\u00e1 \u201cAldobrandivsk\u00e1 svatba\u201d ji\u017e m\u00e1 n\u011bjak\u00fd ten prvek dne\u0161n\u00edch metod perspektivy. Rovnob\u011b\u017eky jednoho vodorovn\u00e9ho sm\u011bru se sice sb\u00edhaj\u00ed do jednoho bodu, ale \u00fab\u011b\u017en\u00edk druh\u00e9ho sm\u011bru se nach\u00e1z\u00ed pod horizontem oka. Prvn\u00ed zm\u00ednku o perspektiv\u011b najdeme v\u0161ak tak\u00e9 v \u0158\u00edm\u011b a to u \u0159\u00edmsk\u00e9ho architekta a stavitele Vitruvia Pollia, ten tvrd\u00ed: “Pot\u00e9 co ur\u010d\u00edme st\u0159edov\u00fd bod, mus\u00ed se \u010d\u00e1ry jako v p\u0159\u00edrod\u011b sb\u00edhat v projek\u010dn\u00edm bod\u011b zorn\u00fdch paprsk\u016f tak, \u017ee mnoh\u00e9 \u010d\u00e1sti se zdaj\u00ed ustupovat dozadu, zat\u00edmco jin\u00e9 vystupuj\u00ed dop\u0159edu.”
\n\"\"
\nSlovo perspektiva v\u0161ak nem\u00e1 stejn\u00fd v\u00fdznam po celou dobu lidstva. V minulosti se slovo perspektiva pou\u017e\u00edvalo k ozna\u010den\u00ed souboru pou\u010dek z geometrick\u00e9 optiky. Tyto pou\u010dky dnes m\u016f\u017eeme naj\u00edt v Euklidov\u00fdch spisech, ve kter\u00fdch jde o zd\u016frazn\u011bn\u00ed p\u0159\u00edmo\u010dar\u00e9ho \u0161\u00ed\u0159en\u00ed sv\u011btla. Euklides ale objevil mnohem v\u00edce pro deskriptivu (nap\u0159. objevitel axiomu rovnob\u011b\u017enosti, euklidovsk\u00e1 geometrie). Zkoum\u00e1n\u00edm optiky zjistil, \u017ee n\u00e1\u0161 vizu\u00e1ln\u00ed obraz se skl\u00e1d\u00e1 z p\u0159\u00edmek, kter\u00e9 vych\u00e1zej\u00ed z oka a tvo\u0159\u00ed ku\u017eel. A tak se objevuj\u00ed prvn\u00ed pokusy o perspektivn\u00ed zobrazen\u00ed p\u0159edm\u011btu. Jeliko\u017e v\u0161ak \u0159\u00edmsk\u00e1 \u0159\u00ed\u0161e z\u00e1hy zanik\u00e1, v\u00fdvoj se zpomaluje.
\n\"\"
\nVe 14. stolet\u00ed se objev\u00ed mu\u017e jm\u00e9nem Giotto, kter\u00fd vyslov\u00ed nesouhlas se sv\u011btskou byzantskou abstrakc\u00ed. Tento mal\u00ed\u0159 jako prvn\u00ed do sv\u00e9 tvorby v\u011bdom\u011b zahrnuje perspektivu. Dal\u0161\u00edm intuitivn\u00edm perspektivcem byl Ambrogio Lorenzetti a jeho d\u00edlo \u201cN\u00e1sledky dobr\u00e9 vl\u00e1dy\u201d. V renesanci perspektiva op\u011bt o\u017e\u00edv\u00e1, hlavn\u011b d\u00edky architektu Filippo Brunelleschi. P\u0159i stavb\u011b florentsk\u00e9ho d\u00f3mu vytvo\u0159il syst\u00e9m vyu\u017e\u00edvaj\u00edc\u00ed p\u016fdorysu i n\u00e1rysu, co\u017e umo\u017e\u0148ovalo pomoci pr\u016fse\u010d\u00edk\u016f rovnob\u011b\u017eek nakreslit perspektivn\u00ed zobrazen\u00ed. Jeden jeho p\u0159\u00edtel Vassari o n\u011bm \u0159ekl: “Vyn\u00e1lez perspektivy uspokojil Filippa natolik, \u017ee rychle namaloval Plaza de San Giovanni a reprodukoval kr\u00e1su \u010dernob\u00edl\u00fdch mramorov\u00fdch dla\u017edic, kter\u00e9 ub\u00edhaly do vnit\u0159ku chr\u00e1mu.” D\u00edky jeho technice namaloval Masaccio svou \u201cSvatou trojici\u201d. Vassari se k tomuto obrazu op\u011bt vyjad\u0159uje: “Ale to nejkr\u00e1sn\u011bj\u0161\u00ed, kdy\u017e pomineme postavy, je perspektivn\u00ed obraz tabulov\u00e9 valen\u00e9 klenby p\u0159i pohledu zdola. Optick\u00e9 zkr\u00e1cen\u00ed je tak umn\u011b namalovan\u00e9, \u017ee strop p\u016fsob\u00ed jako reli\u00e9f”.
\n\"\" \"\"
\nDal\u0161\u00edm v\u00fdznamn\u00fdm architektem, kter\u00fd se zab\u00fdval hloubkovou perspektivou byl Leon Battista Alberti. Ve sv\u00e9 knize \u201cO mal\u00ed\u0159stv\u00ed\u201d uv\u00e1d\u00ed vzorec na zji\u0161t\u011bn\u00ed vzd\u00e1lenosti mezi opakuj\u00edc\u00edmi se tvary v hloubce. V\u00fdtvarn\u00edci tuto vzd\u00e1lenost jen odhadovali a v\u011bt\u0161inou dost nep\u0159esn\u011b. V 15. stolet\u00ed byla Albertiho metoda je\u0161t\u011b zdokonalena mal\u00ed\u0159em Pierem della Francescem. V t\u00e9to dob\u011b byla perspektiva poprv\u00e9 v d\u011bjin\u00e1ch um\u011bn\u00ed pova\u017eov\u00e1na za um\u011bn\u00ed \u0159\u00e1dn\u00e9 v\u00fdstavby obrazu. Velmi v\u00fdznamn\u00fdm perspektivcem byl Leonardo da Vinci, kter\u00fd ve sv\u00e9 knize uv\u00e1d\u00ed: “Perspektiva je jako pohled na t\u011bleso, kter\u00e9 le\u017e\u00ed za sklen\u011bnou tabul\u00ed a v n\u00ed se odr\u00e1\u017e\u00ed”. Objevil dvoust\u0159edovou atmosf\u00e9rickou perspektivu. Jeho vysp\u011bl\u00e1 perspektiva je vid\u011bt na obrazech jako nap\u0159\u00edklad \u201cKlan\u011bn\u00ed t\u0159\u00ed kr\u00e1l\u016f\u201d (rys kalichovit\u00e9 n\u00e1doby).
\n\"\"
\nTeprve v\u0161ak Quido Ubaldo del Monte prov\u00e1d\u00ed d\u016fkaz o tom, \u017ee se rovnob\u011b\u017eky v perspektiv\u011b sb\u00edhaj\u00ed do jednoho bodu. Tento d\u016fkaz se naz\u00fdv\u00e1 punctum concursus. Po Quidovi p\u0159ich\u00e1z\u00ed Girard Desargues, kter\u00fd ur\u010duje body v prostoru sou\u0159adnicemi a jejich perspektivn\u00edmi obrazy za pomoci m\u011b\u0159\u00edtek v sou\u0159adnicov\u00fdch os\u00e1ch. Kdy\u017e pak na konci 18. stolet\u00ed spat\u0159ila sv\u011btlo sv\u011bta deskriptivn\u00ed geometrie, jej\u00ed\u017e tv\u016frcem byl Gaspard Monge, dostalo se i na perspektivu a jej\u00ed v\u011bdeck\u00fd podklad. Dnes se ji\u017e s perspektivn\u00edm zobrazen\u00edm setk\u00e1v\u00e1me t\u00e9m\u011b\u0159 na ka\u017ed\u00e9m kroku.<\/p>\n

Nau\u010dte se s n\u00e1mi kreslit v perspetktiv\u011b. \ud83d\ude42 P\u0159ihlaste se na kurz kresby do Draw Planet!\u00a0https:\/\/www.drawplanet.cz\/kurz\/kurz-kresby\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

P\u0159i hled\u00e1n\u00ed spr\u00e1vn\u00e9ho zobrazov\u00e1n\u00ed prostoru se d\u00edky v\u00fdtvarn\u00e9mu um\u011bn\u00ed rozvinuly techniky, kter\u00e9 se pozd\u011bji vyvinuly v klasick\u00e9 geometrick\u00e9 zobrazovac\u00ed metody, jak je zn\u00e1me dnes. U\u017e Egypt\u0161t\u00ed v\u00fdtvarn\u00edci pozorovali, \u017ee postavy v jejich bl\u00edzkosti jsou velk\u00e9 a naopak s rostouc\u00ed vzd\u00e1lenost\u00ed od pozorovatele se zmen\u0161uj\u00ed a\u017e se nakonec zcela “ztrat\u00ed”. Na kresb\u00e1ch, kter\u00e9 zn\u00e1zor\u0148ovali jak\u00fdsi d\u011bj […]<\/p>\n","protected":false},"author":8,"featured_media":134447,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-134452","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-en"],"acf":[],"yoast_head":"\nHistorie perspektivy<\/title>\n<meta name=\"description\" content=\"P\u0159i hled\u00e1n\u00ed spr\u00e1vn\u00e9ho zobrazov\u00e1n\u00ed prostoru se d\u00edky v\u00fdtvarn\u00e9mu um\u011bn\u00ed rozvinuly techniky, kter\u00e9 se pozd\u011bji vyvinuly v klasick\u00e9 geometrick\u00e9 zobrazovac\u00ed metody, jak je zn\u00e1me dnes.\" \/>\n<meta name=\"robots\" content=\"noindex, follow\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Historie perspektivy\" \/>\n<meta property=\"og:description\" content=\"P\u0159i hled\u00e1n\u00ed spr\u00e1vn\u00e9ho zobrazov\u00e1n\u00ed prostoru se d\u00edky v\u00fdtvarn\u00e9mu um\u011bn\u00ed rozvinuly techniky, kter\u00e9 se pozd\u011bji vyvinuly v klasick\u00e9 geometrick\u00e9 zobrazovac\u00ed metody, jak je zn\u00e1me dnes.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.drawplanet.cz\/en\/historie-perspektivy\/\" \/>\n<meta property=\"og:site_name\" content=\"Draw Planet - 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