Connotation And Limit Of "True"

The purpose of this paper is writing from the visual angle of visual perception psychology, combined with the practice of paintings, in the attempt to explain the concept of "realistic" ,and to a certain extent, the essence of depiction styles related to reproducibility were discussed. Through the discussion of the simplified tendency and organizational instinct of vision, explain realistic and similar feeling is a connection between two slightly different shapes contain the same gestalt by the action of perception, representational painting is not a simple copy of the natural world. In addition, based on the inspection of main genres of representational painting and other depiction styles related to reproducibility, analyzing the modeling methods of them and the relationship between them and perception psychology, I try to define the concept of "real" in representational painting .The general framework is: first, using the correlative theory to define the meaning of "realistic", namely the works in what extent to meet the requirements of people's sense of reality. The gestalt psychology theory and Gombrich's theory about body through the complex active process to grasp the essence of object were introduced. Then, combined with circumstances, the actual process of represent was discussed. Here mainly introduced and discussed the schema, primarily used Gombrich's "matching-manufacture" principle and the theory of Gibson's ecosystem optical theory. The third part is a visual analysis about various genres related to reproducibility, in which the key problem is explain the constant nature related to authenticity in category of variable style -- "concise and perfect" gestalt, and because of the different method of modification on gestalt by artists, various styles between their works arose.Above-mentioned is the emphasis of this article, is also the main problem which I want to explain. The realistic significance is in through the method of visual perception psychology, combined with the specific situations in practice, more in-depth discussion about basic principles which representational paintings should follow, and the conclusion may play a key role in the area regardless of painting practice or teaching.