绘画基本特征.docx

THE FUNDAMENTAL NATURE OF DRAWINGAfter perception,the brain can give instructions the hand which controls the copying instrument, a pencil, say. What is drawn also sends light signals to the eye,which pass through similar stages-sensation and perception-to reach what I have called the comparator. Here the analysis of what is drawn is compared with the analysis of the original object; any difference can cause the hand to make corrections. I say ‘can’ because the result does not necessarily follow; the copier may be aware of differences but not care. Much depends upon whether the drawing is for the draughtsman’s own benefit-that is, to say his thinking-or whether it is to be exhibited to others –that is used for communication. Who the others might be can also affect the result. In looking at drawings from the past is useful to try to ascertain the purpose the artist or draughtsman had in mind, otherwise there is little standard for judging the work.The important thing to notice in the above discussion is that comparison takes place only after perception. We are, therefore, not coldly comparing transmissions of light, or sensations, but we are comparing what the brain thinks about two sets of stimuli. We are comparing the result of our analyses or perceptions. This is the reason why artists can produce such dissimilar results when working from the same model. Each one’s perception depends upon what they have taken from their mental store for the analysis process, and this is partly a function of what has previously been put into the store. I say ‘partly’ because whereas an ordinary person is un-discriminative and his perception is almost wholly a function of what is in the store, artists are selective in their choice which allows them to ‘see things in different ways’.It is, indeed, this process of analysis which allows us to recognize anything or anybody. More particular, this process allows us to recognize various attributes of any shape or object and so allows us to