본 논문은 예수회 선교사들이 16-18세기에 서양 원근법 관련 저서를 중국에 들여오게 된 과정과 맥락을 페어하렌의 『북당 도서관 목록』을 중심으로 고찰해 보았다. 『북당 도서관 목록』에는 예수회 선교 사들이 서양 서적을 매개로 중국의 황제나 사대부층과 대화하려는 접촉점을 마련하려 했던 역사와 노력이 반영되어 있다. 또한, 이 목록에 있는 원근법 저서의 저자와 내용을 살펴보면, 예수회 선교사들이 서양 의 예술 분야의 책뿐만 아니라, 광학, 수학, 천문학 분야의 최신 서적을 통해 중국 지식인들의 관심을 끌어서 하나님의 창조질서나 본성에 관심을 가지게 하려는 선교적 의도가 반영되어 있다. 한편 명말 청초의 중국 지식인층은 서양의 천문학이나 지리학, 수학, 기하학, 예술기법으 로서의 원근법에 커다란 관심을 가졌고, 원근법 책을 번역하는 작업에 도 관심을 가졌다. 물론 서양 선교사들이 중국 지식층에게 서양 학문을매개로 하나님을 알아가게 했던 노력은 의도한 만큼 큰 효과를 거두지는 못했다. 하지만 이러한 문서선교를 통해서 중국의 지식인 계층이 서양 의 학문과 기독교를 좀 더 주체적으로 번역하고 확산할 수 있는 기초작업 을 했다고 본다.

본 논문은 L.B. 알베르티의 회화론을 중심으로 고전 그리스 광학의 전통과 초기 르네상스 선 원근법 이론 사이의 관계를 고찰한다. 선 원근법의 기술적 측면에 초점을 맞추었던 동시대 이론서들과 달리 알베르티의 논문은 수학적 논리가 지닌 형이상학적 가치를 중요하게 다루었는데, 이러한 성격은 유클리드의 광학으로부터 직접적으로 계승되었다고 할 수 있다. 유클리드가 수학적 정의와 명제들로써 증명했던 시각적 세계는 대상과 이미지 사이의 비례적 관계로 이루어진 추상적 공간이었다. 그리고 이러한 추상적 합리성이야말로 알베르티가 자신의 ‘거리점 작도법’의 궁극적인 가치로 주장했던 바로서, 보는 주체와 보여지는 대상 사이의 기하학적 근거에 따라서 실제 세계의 시각 피라미드와 회화 세계의 시각 피라미드를 합치시키고자 했던 것이다

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term ‘vanishing point’. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of ‘vanishing points’. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

As a result of this study, an attempt to emphasize the effect of perspective through the factors of spatial constitution is considered that, in Mwaeom thought, the establishment of the basic situation for cherishing the religious experience as Seonjae Dongja's course of ascetic practice, was needed. Therefore, placing of gates, terrace make-up and the changing spaces and constitution that the space under a castle moves from narrow darkness to wide brightness, express the steps of the course of ascetism. Through this, it gives observers dramatic changes and expectation to their sensual feeling. The emphasis on the perceptibility of Muryang Sujeon, Anyang Loo and the terrace by using a perspertive technique can be interpreted as an intention to express the very delightedness at the last moment the truth is perceived.

The perspective representation and its effect that appeared in the tombs and mural paintings of koguryo are summarized as follows: First, The inside structure of the tombs is likely to show the deepness effect, placing each function in the front and both sides centering around the mane pillars and creating the boundaries and the spaces that have various visibility between the inside and outside spaces of the structure just like a traditional Korean house shows. In addition, The deepness effect is emphasized by suggesting that the spaces are countinued with a storage attached behind the main house or by forming the level and deployment in a narrow space like the scene that a large array is looked out from the main house. Second, The deepness effect is expressed by making the form of ceiling turn to a vertical space of an ascending image, constructing it just as the lotus lamp ceiling of a wooden architecture or drawing it just like the imaginary heavenly world with the sun the moon and mythical fairies and animals spread in it. Thried, The perspective effect is disclosed by drawing the mural pictures in an equally set bird's-eye view without regard to the disfance proportion according to the conceptual visualization which is not a visual penetration, adopting the multiple view points and moving view points that are moving around as an important manner of seeing. Fourth, The deepness effect is emphasized through the scene of changing spaces when they are looked out far or looked into depending on a viewpoint of the daily life by forming the fromes of paintings that we made up with actual pillars, Du Gong, crossbeams or that are painted in most tombs. Fifth, The rich spatial senses are reflected by originating the characters of the three directions, level, deployment and ascending. An example which can support the conclusion of this study can be given here. that is, the construction ground plan of a dwelling house of a nobleman at the end of Koguryo as a remain which was excavated at Dongdae Ja in Jip An.