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2024-01-26
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Universidad Nacional de Educación a Distancia (UNED). Espacio Tiempo y Forma. Serie VII, Historia del Arte
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En sus orígenes, en Europa y Asia Oriental la pintura de paisaje creó escenarios naturales diferentes, reflejo de una comprensión cultural que muestra la relación de sus sociedades con el medio natural. Desde este contexto, el objetivo de este artículo será dilucidar el sentido del espacio de estos dos ámbitos, mediante un estudio comparado de la representación de la naturaleza del Biombo de los pinos (ca. 1595) de Hasegawa Tōhaku y del cuadro Cazadores en la nieve (1565) de Pieter Brueghel el Viejo. Para ello compararemos los respectivos espacios pictóricos, características distintivas y sistemas de representación: la perspectiva europea y el foco móvil extremo oriental. Así, atendiendo a la denominación de Panofsky sobre la perspectiva como la «forma simbólica de Occidente», valoraremos si se puede extrapolar esta definición al foco móvil como la «forma simbólica de Oriente». Desde estas premisas, examinaremos si el desarrollo de ambos espacios pictóricos puede responder a esta hipótesis.
In its origins, landscape painting in Europe and East Asia created different natural settings, reflecting a cultural understanding of their societies’ relationship with the natural environment. In this context, the aim of this article will be to elucidate the sense of space in these two settings through a comparative study of the depiction of nature in Hasegawa Tōhaku’s the Pine Tree screen (ca. 1595) and Pieter Brueghel the Elder’s Hunters in the Snow (1565). To do so, we will compare both pictorial spaces, their distinctive characteristics and their two systems of representation: the European perspective and the far-eastern moving focus. Thus, taking into account Panofsky’s description of perspective as the «symbolic form of the West», we will assess whether this definition can be extrapolated to the moving focus as the «symbolic form of the East». From these premises, we will examine whether the development of both pictorial spaces can respond to this hypothesis.
In its origins, landscape painting in Europe and East Asia created different natural settings, reflecting a cultural understanding of their societies’ relationship with the natural environment. In this context, the aim of this article will be to elucidate the sense of space in these two settings through a comparative study of the depiction of nature in Hasegawa Tōhaku’s the Pine Tree screen (ca. 1595) and Pieter Brueghel the Elder’s Hunters in the Snow (1565). To do so, we will compare both pictorial spaces, their distinctive characteristics and their two systems of representation: the European perspective and the far-eastern moving focus. Thus, taking into account Panofsky’s description of perspective as the «symbolic form of the West», we will assess whether this definition can be extrapolated to the moving focus as the «symbolic form of the East». From these premises, we will examine whether the development of both pictorial spaces can respond to this hypothesis.
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Palabras clave
Arte global; pintura del siglo XVI; horizonte; horizontalidad; espacio pictórico; perspectiva; foco móvil, Global Art; 16th century painting; horizon; horizontality; pictorial space; perspective; moving focus