Research On The Image Of “Pavilion” In The Song Dynasty's Landscape Paintings

The author studied the landscape painting images of the Song Dynasty and found that there were a large number of "pavilion" images as point scenes.Each pavilion has small appearance and no walls on all sides,and it is the most unique in Chinese traditional architecture.This unique style reflects the unique aesthetic meaning of Chinese culture.Therefore,the writer will focus on not only the study of the "pavilion" image itself in the landscape paintings of the Song Dynasty but also its meaning and characteristics in landscape paintings.This paper distinguishes between the pavilions and related buildings,such as “xie”,“lou”,“ge”,and “tai”,and discusses the position of the “ting” image in the landscape paintings of the Song Dynasty by means of formal analysis."Freehand" kiosk analyzes the performance.The narrative characteristics of the "ting" image in the landscape paintings of the Song Dynasty were explored.With or without the narrative presentation of the pavilion around and around the kiosk,it was analyzed that the "ting" image contained direct and indirect narrative meaning.The core of the pavilion's painting lies in the following two points: First,the special architectural form with a roof and no walls.Landscape paintings in the Song Dynasty have certain reproducibility,including the reproduction of content and form,and the narrative is the reproduction of content.Among them,the pavilion's transparent space form is more conducive to the expression of the artist in the picture,so it can be used as a narrative carrier image for painting,which is convenient for the viewer to understand the narrative.Secondly,the hollow architectural connotation of the pavilion accords with the artistic expression of landscape painting's pursuit of mutual existence.Early literati painting sprouts in the Song Dynasty.The painter seized the hollow characteristics of the pavilion and simplified it to fit the void relationship in the painting.