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The Cultural Heritage of Architectural Linear Perspective: the Mural Paintings in Nantang Church

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The Cultural Heritage of Architectural Linear Perspective: the Mural Paintings in Nantang Church heritage Article The Cultural Heritage of Architectural Linear Perspective: The Mural Paintings in Nantang Church Manuel V. Castilla Higher Polytechnic School, University of Seville, 41011 Sevilla, Spain; [email protected] Abstract: This paper presents a contextual use of the innovative drawing techniques that involved architecture and painting in the Qing court during the first half of the eighteenth century. At this point architectural linear perspective in painting (quadratura) and stage design had become common fields of experimentation for the Chinese and Jesuit artists missionaries. In this conceptual context, Western quadratura was developed in China by Giovanni Gherardini. (1655–1729), and especially by Giuseppe Castiglione (1688–1766), who is remembered as an extraordinarily versatile architect–painter. The focus of this paper is on the “illusory mural paintings of architectural perspective in Nantang Church” (Beijing), which has now disappeared, and which spread the influence of the Western Renaissance. The imported Western linear perspective and the fundamentals of architectural drawing facilitated the systematization and dissemination of the quadratura as an unknown technique in China. Based on the text described by the contemporary scholar Yao Yuan Zhi, an original interpretation of the architectural perspective mural paintings in Nantang Church is proposed. These paintings provide an important case study of Sino-European collaboration in the eighteenth century from different points of view: the representation of the light in drawings and the fact that the concept of shadow in some respects was unknown to the Chinese artist. Keywords: cultural heritage; quadrature; linear perspective; architectural painting Citation: Castilla, M.V. The Cultural Heritage of Architectural Linear Perspective: The Mural Paintings in Nantang Church. Heritage 2021, 4, 1773–1785. https://doi.org/10.3390/ 1. Introduction heritage4030099 In order to understand the dynamic of the linear mathematical perspective transmis- sion process to East Asia and its application to architectural painting, there is a need to Academic Editor: Nicola Masini start with some important antecedents. According to Rossi, “a rich bibliography includes research on its mathematical essence, the role it has played in the representation and history Received: 25 June 2021 of architecture, its use in theatres and the various projective applications to measurement Accepted: 10 August 2021 and representation of surfaces” [1,2]. As a scientific topic in general, perspective tradition- Published: 13 August 2021 ally involves various disciplines that are easily distinguished by the specific nature of their approaches. Art history, architecture, mathematics, descriptive geometry, drawing, stage Publisher’s Note: MDPI stays neutral design and other more technical fields of knowledge have applied geometric principles to with regard to jurisdictional claims in the solution of practical problems [1] (p. 578). The architectural perspective, culminating in published maps and institutional affil- the technique of quadratura, appeared to be exclusive to Italy and was very widespread iations. between the sixteenth and eighteenth centuries [3,4]. The term architectural perspective or quadratura refers to the set of perspective con- structions realised on wall and ceiling surfaces to simulate diverse spaces thanks to the possibility of measuring and representing depth of space in an illusory way [3,5] (p. 23). Copyright: © 2021 by the author. In the seventeenth century, the mathematician Girard Desargues (1591–1661) devel- Licensee MDPI, Basel, Switzerland. oped the basic concept of the principle of projection and section view proposed by the This article is an open access article Renaissance artists. In 1636, this scientist derived his famous “perspective theorem,” which distributed under the terms and states: “When two triangles are in perspective, the points where the corresponding sides conditions of the Creative Commons meet are collinear.” Desargues’ most important work Brouillon projet d’une atteinte aux Attribution (CC BY) license (https:// événemens des rencontres d0une cône avec un plan (proposed draft for an essay on the results of creativecommons.org/licenses/by/ taking plane sections of a cone) was printed in 1639, where Desargues presented innovations 4.0/). Heritage 2021, 4, 1773–1785. https://doi.org/10.3390/heritage4030099 https://www.mdpi.com/journal/heritage Heritage 2021, 4 FOR PEER REVIEW 2 Heritage 2021, 4 1774 of taking plane sections of a cone) was printed in 1639, where Desargues presented innova- tions in projectivein projective geometry geometry applied appliedto the th toeory the theoryof conic of sections. conic sections. With this With work this workhe he founded founded the usethe of use projective of projective methods methods in geometry, in geometry, inspired inspired by the theory by the of theory perspective of perspective in art. in art. Additionally,Additionally, the Italian the Jesuit Italian Andrea Jesuit AndreaPozzo (Appendix Pozzo (Appendix A, A1) (1642–1709)A, A1) (1642–1709) pub- published lished Perspectiva,Perspectiva, Pictorum Pictorum et Arquitectorum et Arquitectorum betweenbetween 1693 and 1693 1698, and which 1698, argued which arguedfor per- for perspective spective drawingsdrawings based basedon the on two the orthogonal two orthogonal projections projections of an object. of an object. The first The volume first volume became became the mostthe widely most widely published published and translat and translateded treatise treatise on perspective on perspective written written to date to date in 1693. At in 1693. At thethe end end of ofthe the first first volume, volume, Pozzo Pozzo included included an an answer inin responseresponse to to those those who advocated who advocatedthe the use use of of multiple multiple viewpointsviewpoints within a perspective perspective illusion. illusion. For For the the most most part, Pozzo part, Pozzo employedemployed a sing a singlele point point of ofview view in inhis his quadraturaquadratura worksworks (Figure (Figure 1a,b).1a,b). (a) (b) Figure 1. (a)Figure Andrea 1. Pozzo.(a) Andrea Perspectiva, Pozzo. Perspectiva, Pictorum et Pictorum Arquitectorum. et Arquitectorum. London, ca 1707.London, Public ca domain;1707. Public (b) Andreado- Pozzo. Perspectiva,main; Pictorum (b) Andrea et Arquitectorum. Pozzo. Perspectiva, London, Pictorum ca 1707.Public et Arquitectorum. domain. London, ca 1707. Public domain. On the other Onhand, the other“the mathematicia hand, “the mathematiciann Brook Taylor Brook (1685–1731) Taylor (1685–1731) made break- made breakthroughs throughs in thein development the development of perspective of perspective drawing. drawing. In 1715 Inhe 1715published he published On the Princi-On the Principles of ples of Linear PerspectiveLinear Perspective. Also, Johann. Also, Heinrich Johann Heinrich Lambert Lambert (1728–1777) (1728–1777) was one wasof the one great of the great math- mathematiciansematicians in eighteenth in eighteenth century. La century.mbert diagrammatized Lambert diagrammatized a few important a few issues important issues of of elementary elementarygeometry based geometry on perspectiv based on perspectivee principles principlesand drew and perspective drew perspective with the with the center center of projectionof projection at infinity at infinity according according to the toproperty the property of affini ofty affinity correspondence” correspondence” [6] [6] (p. 108). (p. 108). 2. Development of Graphic Drawings in the Late Ming Dynasty and the Early Qing Dynasty 2. Development of Graphic Drawings in the Late Ming Dynasty and the Early Qing The role of China in the historical development of graphics declined during the Dynasty Ming (1368–1644) and Qing (1644–1911) dynasties. In these periods, various European The role ofmissionaries China in the came historical to China development and used of the graphics Western declined perspective. during The the painters Ming among these (1368–1644) andmissionaries Qing (1644–1911) applied dynasties. the focus In perspective these periods, in drawing various European by furthering mission- the landscape and aries came to Chinastrong and stereo used feelings, the Western which pe attractedrspective. the The attention painters of among the scholars these ofmission- pictorial works of the aries applied theQing focus dynasty. perspective These scholarsin drawin absorbedg by furthering the theories the andlandscape techniques and ofstrong western drawings stereo feelings,and which paintings attracted and the disseminated attention of them.the scholars Thus, of Nian pictorial Xiyao works (?–1738), of the high Qing Commissioner of dynasty. Thesethe scholars Ministry absorbed of Works the during theori Yongzheng’ses and techniques reign (1678–1735)of western drawings became a collaboratorand of the paintings and Jesuitdisseminated missionary them G.. Thus, Castiglione. Nian Xiyao Nian (?–1738), Xiyao compiled high Commissioner and published of the his book Shi Xue Ministry of Works(Appendix duringA ,Yongzheng’s A2), ( Study of reig Visionn (1678–1735)), which illustrated became the a collaborator basics of illusionist of the paintings and Jesuit missionaryarchitectural G. Castiglione. techniques Nian onXiyao perspective compiled drawings and published [7]. The his publication book Shi ofXue the two versions (Appendix A, ofA2),Shi (Study Xue can of beVision recognized), which asillustrated “excellent the work basics and of the
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