The Display And Space Of The Scroll Of Landscape Painting

In this paper, the shape of the scroll landscape paintings and the exhibition concept works the way research works summarized are two types of exhibition landscape view mode and different modes of traditional landscape painting exhibition concept several spatial processing theory and methods. In this paper, show the way perspective view of the landscape can be divided into public nature (impressions) of the landscape, non-public common (display) of the two types of landscape and panoramic landscapes respectively, substantially vertical shaft, and hand-rolled landscapes, typical for these two types of landscape painting representative.From the previous simple theory to explain the traditional Chinese landscape painting of the space problem in different ways, this article examines more Chinese paintings from the frame shape and the exhibition concept of starting to study and understand the way the traditional landscape painting of the space, and the most traditional Chinese painting representative of the form ---- reel-depth analysis of shape. In this paper, scroll landscape paintings show the different ways the screen view of the impact of spatial structure focus on, from the perspective of this new sort of traditional landscape painting theory "far", the "Grand View small", "tri-Law," "a varied and King "and other concept of space, with a specific frame shape, and show the corresponding concept, and the right of Chinese painting," Perspective "issues put forward their own views.In this paper, the specific shape of textual frame with the traditional method of combining landscape theory to study and address the questions posed at the same time in order to make the representative works of the ancient landscapes of specific examples to help explain. In his discussion of landscape painting, "Focus" issue is also an appropriate use of the comparative method and Western art. This paper argues that Chinese landscape painting has its own different from the West "Perspective law" concept of space in a special way of handling, and because frame shape and show a different view of the way and each with their different characteristics, not broad generalizations, there is no need to use Western "perspective" in art theory to blunt the "translation" of Chinese painting space, so as to avoid too much mystery or produce unnecessary confusion and bias.