https://en.wikipedia.

org/wiki/Reverse_perspective

Reverse perspective

Linear perspective of a cube (left) and reverse perspective (right). The viewing plane is shown in blue, with the
projection point where the red lines meet.

The throne and footstool in this icon show reverse perspective, with lines converging towards the viewer.
Reverse perspective, also called inverse perspective,[1] inverted perspective,[2] divergent
perspective,[3][4] or Byzantine perspective,[5] is a form of perspective drawing in which the objects
depicted in a scene are placed between the projective point and the viewing plane. This has the visual
effect that objects farther away from the viewing plane are drawn as larger, and closer objects are
drawn as smaller, in contrast to the more conventional linear perspective for which closer objects
appear larger.[3] Lines that are parallel in three-dimensional space are drawn as diverging against the
 horizon, rather than converging as they do in linear perspective.[1] Technically, the vanishing points are
placed outside the painting with the illusion that they are "in front of" the painting.
The name Byzantine perspective comes from the use of this perspective in Byzantine and Russian
Orthodox icons; it is also found in the art of many pre-Renaissance cultures, and was sometimes used
in Cubism and other movements of modern art, as well as in children's drawings.[3][4] The reasons for the
convention are still debated among art historians;[6] since the artists concerned in forming the
convention did not have access to the more realistic linear perspective convention it is not clear how
deliberate the effects achieved were.[7]

References[edit]
1. ^ Jump up to:a b Hopkins, Robert (1998), Picture, Image and Experience: A Philosophical Inquiry,
Cambridge University Press, p. 157,  ISBN  9780521582599.
2. ^ Rauschenbach, Boris V.  (1983), "On my concept of perceptual perspective that accounts for
parallel and inverted perspective in pictorial art", Leonardo,  16  (1): 28–30,  doi:10.2307/1575038.
3. ^ Jump up to:a b c Kulvicki, John V. (2006),  On Images  : Their Structure and Content, Oxford
University Press, pp.  102–105,  ISBN  9780191537455.
4. ^ Jump up to:a b Howard, Ian P.; Allison, Robert S. (2011), "Drawing with divergent perspective,
ancient and modern"  (PDF), Perception, 40: 1017–1033, doi:10.1068/p6876.
5. ^ Deregowski, Jan B.; Parker, Denis M.; Massironi, Manfredo (1994), "The perception of spatial
structure with oblique viewing: an explanation for Byzantine perspective?",  Perception,  23  (1): 5–
13,  doi:10.1068/p230005.
6. ^ Antonova, Clemena (2010), "On the problem of "reverse perspective": definitions east and
west", Leonardo,  43  (5): 464–469,  doi:10.1162/LEON_a_00039, The author ... identifies six distinct
views on reverse perspective, some of which are mutually exclusive.
7. ^ Antonova, Clemena (2010),  Space, Time, and Presence in the Icon: Seeing the World with the
Eyes of God, Ashgate studies in the history of philosophical theology, Ashgate Publishing, Ltd.,
p. 54,  ISBN  9780754667988,  In the case of "reverse perspective", on the other hand, there is no
evidence that icon-painters had recourse to mathematically correct systems of measurement to enable
them to represent vanishing point systems".

External links[edit]
 Video demonstrating consistent reverse perspective
Categories: 
 Perspective projection
 Christian iconography