Belvedere《觀景樓》

愛藝

Belvedere is a lithograph print （46.2 cm × 29.5 cm） by the Dutch artist M. C. Escher， first printed in May 1958. It shows a plausible-looking belvedere building that is an impossible object， modelled after an impossible cube.

In this lithograph， Escher uses two-dimensional images to depict objects free of the confines of the three-dimensional world. The image is of a rectangular three-story building. The upper two floors are open at the sides with the top floor and roof supported by pillars. From the viewer’s perspective， all the pillars on the middle floor are the same size at both the front and back， but the pillars at the back are set higher. The viewer also sees by the corners of the top floor that it is at a different angle than the rest of the structure. All these elements make it possible for all the pillars on the middle floor to stand at right angles， yet the pillars at the front support the back side of the top floor while the pillars at the back support the front side. This paradox also allows a ladder to extend from the inside of the middle floor to the outside of the top floor.

There is a man seated at the foot of the building holding an impossible cube. He appears to be constructing it from a diagram of a Necker cube1 at his feet with the intersecting lines circled. The window next to him is closed with an iron grille that is geometrically valid， but practically impossible to assemble.

The woman who is about to climb the steps of the building is modeled after a figure from the right-hand panel of Hieronymus Bosch’s 1500 triptych The Garden of Earthly Delights2. This panel is individually titled Hell; a portion of it was recreated by Escher as a lithograph in 1935.

The ridge in the background is part of Morrone Mountains in Abruzzo， that Escher had visited several times when living in Italy during the 1920s and 1930s.

《觀景樓》是荷蘭畫家M. C.埃舍爾創作的一幅平版印刷畫（46.2厘米×29.5厘米），首印于1958年5月。畫面展示了一個貌似結構合理、其實不可能存在的觀景樓，創作模型是一個不可能的立方體。

畫中，埃舍爾采用二維圖像來描繪不受三維世界束縛的物體。中心圖像是一個長方形三層建筑。上兩層都在一側有開口，頂層和屋頂由多根立柱支撐。從觀畫者角度看，中間樓層的所有立柱無論位置前后，大小都一樣，但后面的柱子設置得更高些。觀畫者還可以從頂層的四角看到，頂層整體的角度與觀景樓其他部分不同。所有這些元素都使中間樓層的立柱得以豎直站立，而前方的柱子支撐的是頂層后部，后方的柱子則支撐著頂層前部。這種矛盾現象還表現為從中間樓層內部搭起的梯子延伸到頂層時變成搭在了外部。

一個男子坐在觀景樓腳下，手持一個不可能的立方體。他似乎是在根據腳邊的一張圖搭建這個立方體，那張圖畫的是內克爾立方體，相交的線被圈出做了標記。他旁邊的窗戶裝了密封的鐵柵欄，那柵欄從幾何上看是成立的，但實際上無法組裝。

一個女子正要拾級登樓，該形象取自希羅尼穆斯·博施1500年創作的三聯畫《世俗樂園》右聯上的一個人物。這一聯被單獨命名為《地獄》，1935年，埃舍爾以平版印刷畫的形式對其中一部分進行了再創作。

背景中的山脈是阿布魯佐大區莫羅內山脈的一部分，1920年代和30年代埃舍爾在意大利生活時曾多次到這座山脈游玩。? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?□