The Study Of Xiao Zhao’s Landscape Painting Mountainside Pavilions

Xiao Zhao,as a imperial painter of the Southern Song Dynasty and the first generation of core figures of the Li Tang’s factions which is one of the most influential painters in the early Southern Song Dynasty,and has a certain position in the history of painting.As an existing work clearly identified as Xiao Zhao,Mountainside Pavilions plays an significant role in the study of Xiao Zhao.As a work at the turn of the two Song Dynasties,Mountainside Pavilions presents the transitional characteristics of the style and composition changes of landscape painting of the two Song Dynasties,which has certain particularities.In this paper,Xiao Zhao’s Landscape is taken as the entry point to explore the brush and ink language and spirit of his landscape painting.The various characteristics of style and composition in Mountainside Pavilions reflect the influence of Xiao Zhao’s creation under the background of the creation of natural landscapes and the environment of the times after‘northerners came to the south’.Firstly,this essay mainly adopts the method of literature research to organize relevant ancient literature,which provides a rough overview of Xiao Zhao’s life,and roughly infer the year of creation of Mountainside Pavilions.The second part of the paper,starting from the perspective of painting practice which focuses on multiple subjective and objective aspects.In addition,combining the self-discipline of art development,historical background,contemporary painting appearance,social factors,regional differences,and emotional factors to analyze the brushwork techniques and composition forms of Mountainside Pavilions.Moreover,this essay analyzes and summarizes Xiao Zhao’s early painting style.Additionally,in the third part,further summarize Xiao Zhao’s personal artistic achievements and future influence.This paper considers that the edge and corner style composition style presented in this picture reflects the spatial differences between the Southern Song Dynasty landscape painting and the Northern Song Dynasty landscape painting,which reflects the transformation process from the panoramic landscape composition of the Five Dynasties Northern Song Dynasty to the landscape spatial form with edge and corner consciousness in the Southern Song Dynasty.At the same time,based on certain textual research that this essay proposes the assumption that this painting is not a complete picture,and there are partly deficiencies in the left part.The author considers the existing painting might be a small part of the original painting.