Research On The Picturesque Of Chinese Landscape Painting

The discussion of painting and space art is not a new topic in modern architecture since the 20 th century.As early as the Renaissance,Italian art theorists compared painting,architecture and sculpture to the three sisters of "design art".In the traditional Chinese art,landscape painting as the guidance of garden can be traced back to the Ming dynasty.Although the forms of expression of architecture and painting are different,they are closely related in the development of traditional art.With the development of modern architecture,domestic architecture is now faced with the fault of traditional culture and the lack of local architectural vocabulary.On the premise of the intersection of painting and architecture,based on traditional Chinese landscape paintings,this study provides a new research and design idea for the expansion of architectural boundaries.This paper starts with the origin and manifestation of dynamic space in traditional Chinese landscape painting and explores the spatial prototype of traditional landscape painting.From Zhao boju’s autumn color map of the rivers and mountains,five scenes of "clipping","inner","climbing","covering the mountains" and "flying" are extracted,and they are abstractly translated into architectural space,so as to look forward to a design idea of imitating nature.Combined with the actual design requirements,the proposed spatial prototype is integrated and optimized to provide some references for the transformation from traditional text to modern architecture.This paper consists of five chapters:The first chapter of the introduction begins with the research background,and presents the realistic basis for the extension of this article.At the same time,the purpose and significance of the preliminary research are summarized,combined with the internal research status quo team theory and practice scales to summarize,and comprehensive research and design to propose specific research methods.The second chapter is a brief summary of the relationship between painting and architecture,providing sufficient support for the research and design of this paper.Then,in view of the translation of Chinese landscape painting to modern architecture,this paper mainly studies this topic,respectively from teaching experiment and design practice,in-depth analysis of excellent design works,and summarized the design ideas,to provide guidance for the study and design of the following article.The third chapter analyzes the causes of the dynamic space presented in Chinese traditional landscape painting from the perspective of the creation mode of Chinese traditional landscape painting.Based on Zhao boju’s autumn color map of the mountains,the five scenes of "covering the mountains","Flying over","Between","Inner " and "Climbing the heights" are extracted and transformed into corresponding architectural Spaces,which are presented in the form of physical models,so as to create a spatial pattern of its own intervention.The fourth chapter starts with the formation of the Hangzhou city pattern,focusing on the historical changes of the Beijing-Hangzhou Canal and Xiaohe Zhijie,which are closely related to the site.Combining the results of two field investigations,we have made a detailed collation and in-depth analysis of the situation of the base.Based on this,three entry points for design are derived: the Beijing-Hangzhou Canal,historical districts and traditional landscape paintings,which provide guidance for the design from the aspects of urban design and concept deepening,and propose a design task book.Afterwards,Hangzhou Canal Culture and Art Center was displayed from three aspects: concept generation and master plan design,space shaping and path interpretation,form expression and construction performance.The fifth chapter summarizes the research and design,also reflects on its shortcomings.