Study On The Space Of Landscape Painting Of Song Dynasty

In Song Dynasty the scenery painting creation made brilliant achievement. Song Dynasty was the golden period for scenery painting development of China. In this period, the space representation and various skills of scenery painting attained to perfection. This thesis studies systematically and concentratively on the space form composition and characteristics of Song Dynasty scenery painting.The first part of the thesis probes into the origin and development of the scenery painting space theory in Song Dynasty. In the Liu and Song Period of Southern Dynasty, Zongbing put forward his esthetic ideology of"A vertical painting of three inches works on a height of a thousand miles. A horizontal painting of several chi (a unit of length in China) reflects the difference in a hundred miles"in his work of"preface to painting scenery". This ideology established the basis of the scenery painting space composition theory.In Southern Qi period, looking the"manageing position"as one of the"six methods"in his work"record of ancient painting appreciation", Xiehe ulteriorly advanced the space composition to the height of the rule of painting creation which had far-reaching influence on the painting space representation. In Song Dynasty, Guoxi generalized the painting space plan and visual representation as the"three kinds of farness"which were high farness, deep farness and plain farness. He summed up a series of Chinese painting space visual representation theory which were different from the western focus perspective theory. These theories were generalized from Chinese painting creation practice and had great influence on the creation space form representation of the later Chinese paintings (including scenery painting).The second part of the thesis discusses the space form transformation of Song Dynasty scenery painting and it mainly describes the generate procedure from"full scenery"of Northern Song Dynasty to"corner charm"of Southern Song Dynasty. It also discusses the application of"three kinds of farness"rule to the works of Guoxi's"Early Spring", Fankuan's"Travel along the Stream and Mountain", Mayuan's"Fishing from the Cold River"and Xiagui's"Travel on the Boat in the Storm", which made the space form of scenery painting gradually tend towards diversification.The last part of the thesis analyzes the characteristic of the space representation and the artistic conception creation of Song Dynasty scenery painting. To the representation language and representation technique of Chinese painting noumenon, Laozi's thought of"ens"and"nothing"established the theory basis for the space form of false and true and had great influence on the shaping and development of scenery painting's artistic conception space and false and true space. The application of painting skill made the space artistic conception of scenery painting perfect.Having the Chinese painting space artistic theory as the basis, this thesis studies the scenery painting works of Song Dynasty with the painting history, painting ideal and painting theory. Beginning from the origin and development of the scenery painting space theory, the thesis analyzes and expounds the space theory and form characteristic of Song Dynasty scenery painting with the method of comparison, analysis and induction. The thesis generalizes the characteristics and rules of Song Dynasty scenery painting in the aspect of space composition and visual form.Song Dynasty scenery painting achieved a very high level in the aspect of composition and representation skill. Our study on the space form of Song Dynasty scenery painting has positive significance for nowadays scenery painting creation and teaching.