{"title":"比例理论在造型设计中的应用","authors":"V. Spinadel","doi":"10.24840/2184-4933_2018-0034_0018","DOIUrl":null,"url":null,"abstract":"Throughout the evolution of human culture, starting from the early Prehistory, following with the sacred art of Egypt, India, China, Islam and other traditional civilizations, the designers had tried to produce harmonic forms that simultaneously were particularly beautiful.\nThis objective dominated Greek and Roman art and Architecture, persisting in the movements of the Gothic Middle Ages and later on, in the Renaissance.","PeriodicalId":358710,"journal":{"name":"Boletim da Aproged","volume":"19 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"APPLICATION OF THE PROPORTION THEORY TO FORM DESIGN1\",\"authors\":\"V. Spinadel\",\"doi\":\"10.24840/2184-4933_2018-0034_0018\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Throughout the evolution of human culture, starting from the early Prehistory, following with the sacred art of Egypt, India, China, Islam and other traditional civilizations, the designers had tried to produce harmonic forms that simultaneously were particularly beautiful.\\nThis objective dominated Greek and Roman art and Architecture, persisting in the movements of the Gothic Middle Ages and later on, in the Renaissance.\",\"PeriodicalId\":358710,\"journal\":{\"name\":\"Boletim da Aproged\",\"volume\":\"19 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Boletim da Aproged\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.24840/2184-4933_2018-0034_0018\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Boletim da Aproged","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.24840/2184-4933_2018-0034_0018","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
APPLICATION OF THE PROPORTION THEORY TO FORM DESIGN1
Throughout the evolution of human culture, starting from the early Prehistory, following with the sacred art of Egypt, India, China, Islam and other traditional civilizations, the designers had tried to produce harmonic forms that simultaneously were particularly beautiful.
This objective dominated Greek and Roman art and Architecture, persisting in the movements of the Gothic Middle Ages and later on, in the Renaissance.
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