dor_id: 15636

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856.4.0.u: https://revistas-filologicas.unam.mx/estudios-cultura-maya/index.php/ecm/article/view/178/179

100.1.#.a: Graulich, Michel

524.#.#.a: Graulich, Michel (1991). Oblique Views and Three-Dimensionality in Maya Art. Estudios de Cultura Maya; Vol. 18, 1991. Recuperado de https://repositorio.unam.mx/contenidos/15636

245.1.0.a: Oblique Views and Three-Dimensionality in Maya Art

502.#.#.c: Universidad Nacional Autónoma de México

561.1.#.a: Instituto de Investigaciones Filológicas, UNAM

264.#.0.c: 1991

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506.1.#.a: La titularidad de los derechos patrimoniales de esta obra pertenece a las instituciones editoras. Su uso se rige por una licencia Creative Commons BY-NC 4.0 Internacional, https://creativecommons.org/licenses/by-nc/4.0/legalcode.es, para un uso diferente consultar al responsable jurídico del repositorio por medio del correo electrónico estudios@unam.mx

884.#.#.k: https://revistas-filologicas.unam.mx/estudios-cultura-maya/index.php/ecm/article/view/178

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041.#.7.h: spa

520.3.#.a: Schafer"s 1919 study on Egyptian art remains an extremely useful tool, not only for the egyptologist, but for all those interested in ways of representation with no perspective. Introducing the English translation (1974), Gombrich does not hesitate to state: "It constitutes indeed the only attempt ever made of analyzing an artistic style as a mapping procedure". Schafer, he goes on, teaches us the transformation-rules we have to apply to translate and to understand the Egyptian image. Schafer"s fundamental thesis does not surprise any more. In their attempts to reproduce nature, the Egyptians construct their images summarizing those physical aspects of the object which they consider to be the essential, or more characteristic. To this effect, they rely on mental images rather than on an incomplete and truncated appearance. To represent a three-dimensional object on a flat surface, they proceed by "frontal views" of parts of the object: that which seen frontally en face or in profile extends into the third dimension is transferred to the flat plane of the image. Hence, the typical way of presenting man with shoulders and eyes en face; head, limbs, and torso in profile. Ideally, in such an image, "the at first sight confusing appearance of the parts on the two-dimensional plane can in fact be shown to conform to the simple technical rule, that in their two-dimensional projection, parts protruding from the three-dimensional plane must be seen in profile, and parts extending on the plane en face" (Iversen 1975:35).

773.1.#.t: Estudios de Cultura Maya; Vol. 18 (1991)

773.1.#.o: https://revistas-filologicas.unam.mx/estudios-cultura-maya/index.php/ecm/index

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doi: https://doi.org/10.19130/iifl.ecm.1991.18.178

harvesting_date: 2023-08-23 17:00:00.0

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245.1.0.b: Oblique Views and Three-Dimensionality in Maya Art

last_modified: 2023-08-23 17:00:00

license_url: https://creativecommons.org/licenses/by-nc/4.0/legalcode.es

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Artículo

Oblique Views and Three-Dimensionality in Maya Art

Graulich, Michel

Instituto de Investigaciones Filológicas, UNAM, publicado en Estudios de Cultura Maya, y cosechado de Revistas UNAM

Licencia de uso

Procedencia del contenido

Entidad o dependencia
Instituto de Investigaciones Filológicas, UNAM
Revista
Repositorio
Contacto
Revistas UNAM. Dirección General de Publicaciones y Fomento Editorial, UNAM en revistas@unam.mx

Cita

Graulich, Michel (1991). Oblique Views and Three-Dimensionality in Maya Art. Estudios de Cultura Maya; Vol. 18, 1991. Recuperado de https://repositorio.unam.mx/contenidos/15636

Descripción del recurso

Autor(es)
Graulich, Michel
Tipo
Artículo de Investigación
Área del conocimiento
Artes y Humanidades
Título
Oblique Views and Three-Dimensionality in Maya Art
Fecha
2013-02-05
Resumen
Schafer"s 1919 study on Egyptian art remains an extremely useful tool, not only for the egyptologist, but for all those interested in ways of representation with no perspective. Introducing the English translation (1974), Gombrich does not hesitate to state: "It constitutes indeed the only attempt ever made of analyzing an artistic style as a mapping procedure". Schafer, he goes on, teaches us the transformation-rules we have to apply to translate and to understand the Egyptian image. Schafer"s fundamental thesis does not surprise any more. In their attempts to reproduce nature, the Egyptians construct their images summarizing those physical aspects of the object which they consider to be the essential, or more characteristic. To this effect, they rely on mental images rather than on an incomplete and truncated appearance. To represent a three-dimensional object on a flat surface, they proceed by "frontal views" of parts of the object: that which seen frontally en face or in profile extends into the third dimension is transferred to the flat plane of the image. Hence, the typical way of presenting man with shoulders and eyes en face; head, limbs, and torso in profile. Ideally, in such an image, "the at first sight confusing appearance of the parts on the two-dimensional plane can in fact be shown to conform to the simple technical rule, that in their two-dimensional projection, parts protruding from the three-dimensional plane must be seen in profile, and parts extending on the plane en face" (Iversen 1975:35).
Idioma
spa
ISSN
ISSN impreso: 0185-2574; ISSN electrónico:2448-5179

Enlaces