The Eight Views Of Xiaoxiang

This article takes "Xiaoxiang Eight Scenic Spots-Study of Regional Landscape Style in Song Dynasty" as the research object.Combining the existing research results of the predecessors,the authors had different expressions of the "Xiaoxiang Eight Scenery"in Song Dynasty,the context of the inner context,and different artistic creators in different periods about this motif".The "Xiaoxiang Eight Scenic Spots" spans the special era of Song Dynasty and the combination of neo-Confucianism.And thiscombination produces meaning,tracking of literary emotions,metaphors of image meaning,and observance of space law.These issues are discussed intensively.According to the research in this article,it is found that the group of "Xiaoxiang Eight Scenic Spots" spans a long period of time.The scope covers East Asian cultural regions.Many artists participated in this period.And painters belong to more diverse classes.However,the common ground is to follow the poetic propositions in the "Xiaoxiang Eight Scenic Spots" and to use these poetic propositions for free combination.Thecharacteristics of these combinations follow the "Southern" regional visual creation since Dong Yuan.This vision follows the information provided by several reliable works,mainly by Dong Yuan.This information refers to the "source code" of regional landscape style.One of them is Song Di-Wang Hong-Ma Yuan-Xia Gui,which finally points to Dong Yuan,Ju Ran and even the broader Northern Song tradition.The other pulse is Mi Li-Mi Youren-Muxi-Shucheng Li,which eventually points to Dong Yuan and Ju Ran.These two clues are about different contents of "Xiaoxiang" in "Xiaoxiang Eight Scenic Spots".Of course,it also involves the analysis of the works of Guo Xi'sShusepingyuan,works of Zhao Qian and Wang Yan.The construction of these groups of works is to use their analogies to find out how the "doctors" are based on China's far-reaching and powerful cultural resources as a background to reveal the creator 's own understanding of the cosmic order and the spiritual support as a form of landscape civilization Discussion.Through this construction,the internal motivation and cultural logic are discussed.The civilization form of landscape painting is younger than other civilization forms.The cultural resources on which Shanshui is based are relatively abundant.The conceptknowledge of "regionality" is used to interpret the civilization of landscape painting.This also follows the existence of a more comprehensive truth in this region".In the meantime,whether through the "area" to carry all the physical space where the culture originates and develops,or through the physical space that carries this specific area" cultural characteristics to react to the new cultural content."The study of this subject is precisely the beginning of an interpretation of this issue."...