Is painting space fundamentally perspectival? In the European Renaissance (14th to the 17th century), the painting space was thought of as having an interior of perspective where one could place an object. It took many years after the Renaissance for European art to come out of this optical or geometrical perspective and realise that the space of painting is fundamentally non-perspectival. Historically in Europe, impressionists (1860) painters are the ones who tried to break away from this optical or single-point perspective and create paintings according to ‘lived perspective’. Optical perspective is one of the visual dogmas which are believed till today; thus, it is tough to appreciate non-perspectival paintings. This paper aims to give technical reasons why painting space is fundamentally not perspectival; the first section of the paper will deal with the question ‘what kind of space is painting space?’, and in the second section, we will compare method of photograph and drawing to find the differences between mechanism of camera and human perception . In the last section of the paper we will use Indian folk paintings, to demonstrate how cognitive or alternative/multiple perspectives open new possibilities in painting space.

中文翻译：

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视觉与认知视角：印度民间绘画研究

绘画空间本质上是透视的吗？在欧洲文艺复兴时期（14 世纪至 17 世纪），绘画空间被认为是一个可以放置物体的透视内部。文艺复兴之后的许多年，欧洲艺术才从这种光学或几何透视中走出来，并意识到绘画空间基本上是非透视的。从历史上看，在欧洲，印象派（1860）画家是试图摆脱这种光学或单点视角并根据“生活视角”创作绘画的人。光学透视是至今仍被人们相信的视觉教条之一；因此，非透视画很难欣赏。本文旨在给出绘画空间从根本上不是透视的技术原因；论文的第一部分将处理“什么样的空间是绘画空间？”的问题，第二部分将比较照片和绘画的方法，以找出相机机制与人类感知之间的差异。在论文的最后一部分，我们将使用印度民间绘画来展示认知或替代/多重视角如何在绘画空间中开辟新的可能性。