Research On The Exhibition And Spatial Expression Of Hand-rolled Landscape Paintings In The Song Dynasty

Hand-painting is one of the traditional Chinese paintings.It is also one of the best subjects of the ancients' collection.It includes thousands of meteorological spaces between the squares,and the space of the title of the Shanwei has left many cultural impressions of the collection and the title.For a long period of time,hand-rolled paintings have both a documentary role and an important way of preserved images.The posters of later generations constitute an inseparable part of the hand-drawn paintings,which makes the hand-drawn paintings not only have a strong documentary value.It also occupies a place in Chinese traditional culture.The hand-rolled landscape paintings in the Song Dynasty have a profound sense of space and space.There is a unique spatial expression law,stable and unified.It contains the special view mode and space consciousness of the ancient Chinese,which truly reflects the uniqueness of the ancient Chinese.The spatial consciousness and spatial expression characteristics,these laws of spatial expression are hidden in many complicated painting patterns in ancient times.However,Mr.Wu Hong said in the article "Translation of Images and Interpretation of Fine Art" : "The invention of digital technology and the widespread use of photographic images have enabled the original works of art to be translated into twodimensional images taken from a specific angle.What we are seeing is an image with a clear bounding frame on the shelf painting,which has lost two basic characteristics of the hand roll itself: strong temporality and personality."Based on the above situation,the author believes that in order to comprehensively study the hand-rolled landscape paintings of the Song Dynasty,it must be studied in the language of the handwriting.This thesis takes the shape of the hand-painted painting in the Song Dynasty as the research object,and studies the special shape of the handpainting method and the spatial expression,to explore the particularity of the handvolume space performance.Further study the application of the "Three-Year" space law and the "step-and-shift" method of landscape painting."Three Fars" is a summary of Guo Xi's practice and theoretical thinking on the creation of landscape paintings of predecessors.He is also a real experience and spiritual summary of his own creation of natural landscapes and landscape paintings."Step-and-shift" can be said to be a special spatial processing method in Chinese traditional landscape painting.Zong Baihua mentioned in "The Space Consciousness in Chinese Poetry and Painting": "Special care is shown in our poems.Among them,constitutes the characteristics of spatial consciousness in our poetry and paintings.The "traits of spatial consciousness" here are mainly embodied in the establishment of the "step shifting" rule and its stable performance in the past painting patterns.Therefore,by analyzing the ever-changing hand scroll scene,we can grasp the particularity of the spatial expression of the handrolled landscape paintings of the Song Dynasty.By studying the exhibition mode and spatial representation of the hand-rolled landscape paintings of the Song Dynasty,we can understand the positive meaning of the spatial expression given in the hand scroll and the spatial expression and concept formation of the hand scroll.There is no monograph on the study of hand-rolled landscape paintings in the Song Dynasty.However,many related studies are involved.Based on the diversified background of landscape painting creation,this paper explores the inheritance and development of hand-rolled landscape paintings,and makes a comparative study.I hope to make some preparations and supplements for the creative practice in this field,and how to better inherit the current landscape painting creation.How to provide more reference for the practice of Chinese painting creation from the analysis and reading of Chinese painting system.