Study On The Landscape Planning Concept And Architectural Schema Painting Of Song Dynasty Emperor Ming’s Summer Palace

Traditional Chinese gardens are not only a form of architecture but also a cultural expression.The design and construction of gardens reflect various aspects of Chinese culture,such as aesthetic concepts,philosophical ideas,literary arts,and humanistic spirit.However,gardens are the most perishable among all ancient Chinese constructions,resulting in the predominance of Ming and Qing gardens today.The exploration of gardens before the Ming and Qing dynasties can only be done through historical literature and image materials.This paper focuses on the inheritance of garden and architectural space design in traditional Chinese painting,especially in the genre of boundary painting.It addresses the neglect of the traditional garden architectural design ideas and the lack of exploration of the logical relationship between landscape patterns,architectural space,and architectural group space.This study focuses on the enduring theme of ancient palaces in history,the Jiu Cheng Palace,and selects the "Picture of the Ming Emperor’s Summer Palace" as the main research object to explore the landscape concept and architectural pattern in the painting.The aim is to gain a deeper understanding of the building concepts,construction methods,and the deeper traditional Chinese pattern thinking reflected in the painter’s creation,to provide theoretical support for the inheritance of traditional garden architectural space,and to provide new research ideas and methods for the study of garden architectural space in contemporary boundary painting.This paper adopts the theory of schema as a guide,based on the concept of "garden architectural space," and forms a research framework of "historical material support-element integration-pattern reproduction-landscape scene schema-architectural logic schema." Using the theory of architectural schema and analytical schema such as literature research,historical comparison,and pattern analysis,the paper explores the historical context of the Jiu Cheng Palace,the comparative analysis of the "Picture of the Ming Emperor’s Summer Palace" and the Jiu Cheng Palace’s historical paintings,the extraction of the elements of the "Picture of the Ming Emperor’s Summer Palace" and the translation of the architectural elements into two-dimensional forms,and the research on the landscape planning concept,single building form,and architectural group space organization in the painting.Firstly,the paper starts from the historical context and conducts a historical review of the Jiu Cheng Palace,the reproduction object of the "Picture of the Ming Emperor’s Summer Palace," to explore the landscape environment and architectural space pattern of the Jiu Cheng Palace in history.It also conducts a comparative study of the historical paintings of the Jiu Cheng Palace,summarizing the "Jiu Cheng Palace pattern." The threelevel mountain and water planning concepts include "following the pattern of Fengshui and selecting locations with beautiful landscapes","respecting ecological nature and pursuing mountain and water aesthetics",and "reasonably transforming and creating the artistic conception of mountain and water".This paper uses the theory of schema to extract the "Jiu Cheng Palace pattern" from the historical paintings of the Jiu Cheng Palace,and adopts the "landscape scene schema" and "architectural logic schema" to represent the characteristics of boundary painting.It summarizes a set of methods and steps for the translation of architectural diagrams in boundary painting.Using the theory of schema,the paper reveals the landscape planning ideas and architectural space organization structure in the "Picture of the Ming Emperor’s Summer Palace." It is expected that this study can provide new methods for the study of garden architectural space in boundary painting and provide new references for the inheritance of traditional garden architectural space in contemporary times.Furthermore,by using the logic diagram of individual buildings as a tool for translation and analyzing the spatial types,this study explores the functional characteristics of different building types depicted in the painting,as well as the reasons for choosing different styles for similar buildings and their relationship with the landscape environment in terms of the traveling mode.There are three types of dais construction and two types of traveling mode;two types of pavilion construction and three types of traveling mode;three types of temple construction and three types of traveling mode;three types of corridor construction and three types of traveling mode;and two types of lang Construction and two types of traveling mode.Finally,by using the "logic diagram" to explore the logical layout of the front and rear courtyards,this study combines the "situation pattern" of the landscape and the "logic pattern" of the architecture,and explores the spatial structure,spatial sequence,and spatial penetration in three organizational modes to discuss the design ideas of the garden space presented in the "Painting of Emperor Ming’s Summer Palace".As a result,the underlying logical thinking of the "Four-door System" and the "Four-corner System",as well as the "Five-position Pattern" and the "Nine-palace Pattern" in the architectural group space in the "Painting of Emperor Ming’s Summer Palace" is revealed.The entire architectural group contains three types of spatial structures: linear,centralized,and networked,with two spatial sequences of ascending to view mountains and overlooking pavilions and waters.It relies on spatial penetration to form a mutually related whole between each building,each courtyard,and the architecture group and the landscape.This paper uses the theory of schema to extract the "Jiu Cheng Palace pattern" from the historical paintings of the Jiu Cheng Palace,and adopts the "landscape scene schema" and "architectural logic schema" to represent the characteristics of boundary painting.It summarizes a set of methods and steps for the translation of architectural diagrams in boundary painting.Using the theory of schema,the paper reveals the landscape planning ideas and architectural space organization structure in the "Picture of the Ming Emperor’s Summer Palace." It is expected that this study can provide new methods for the study of garden architectural space in boundary painting and provide new references for the inheritance of traditional garden architectural space in contemporary times.