The spatiality of relief art refers to the expression of spatial language through the spatial changes of reliefs, and the use of changeable spatial styles, rich characters, and numerous interspersed scenes to construct complex plots.
One is physical space. “Relief sculpture inherits the two advantages of painting and three-dimensionality. It has both three-dimensional and two-dimensional features.” Compared with sculpture, it has more painting characteristics and compared with painting, it has more tactile and three-dimensional characteristics. sense.
The second is virtual space. Foreshadowing people’s imagination. For example, the relief of the bronze door of the Baptistery in Florence, Italy, Ghiberti’s background processing of the “Gate of Heaven” makes full use of the virtual space. The inherent law of focus perspective has quietly enlarged the figure’s form, thus making the composition of the picture more compact and the movement of the characters clearer.
The third is to restructure the space. It is a meaning space that transcends the embossed physical space and virtual space, and thus conveys non-material content such as thematic ideas, central connotation, modeling beauty and emotional expression, and integrates unlimited imagination, rich emotions and profound philosophy into art. As Susan Lange pointed out: “The artwork as a whole is the image of emotion.”
