The Law Of Visual Space Conversion From The Arrangement Of Object Positions In The Qingming Shanghe Tu

Zhang Zeduan’s Qingming Shanghe Tu is one of the most well-known paintings in China.The painting vividly reproduces the natural scenery and bustling scene of the Capital City of the Northern Song Dynasty.It has a very high historical documentary value and artistic value.At present,there are many studies on the Qingming Shanghe Tu,mainly focusing on the humanities fields such as history,culture and society.There is little research on the spatial architecture and visual presentation of the picture itself.Through interdisciplinary research methods,the author integrates and gradually explores.The Qingming Shanghe Tu depicts a broad global scene.Its special frame size and viewing style give it the ability to play dynamic narratives.The perspective and viewpoint of the picture itself are adaptively floating.Although this makes the picture look more natural and comfortable.However,it will cause distortion of the overall spatial structure and dislocation of the local space.The painter hides the traces in the way through the connection.This allows the painting to find a balance between the logical rational space and the visual perception space.In the Qingming Shanghe Tu,the spatial structure in painting is very complicated.The work also shows a variety of spatial transformation methods such as orthographic projection,oblique projection,and central projection.However,the theoretical foundations of these spatial transformation methods are contradictory.In Chinese painting,the reason why these contradictory perspective theories can be combined and applied is that the spatial construction in Chinese painting originates from the philosophical cognition of the concept of space rather than the analysis and judgment of visual experience.Because the perspective of Chinese painting is a deep combination of spatial logic and visual law,it is impossible to use a single mathematical method for accurate description,which forms the illusion that Chinese painting has no perspective law.Generalized perspective refers to a method or technique for transforming a three-dimensional space into a two-dimensional image.As long as there is space in the painting,there must be methods and laws to deal with it.The author combines the formation of the Chinese ancient space world view and the principle of spatial transformation.Analyze the space frame in the Qingming Shanghe Tu to analyze the perspective of Chinese painting.This paper is divided into four chapters to explore the spatial structure in the Qingming Shanghe Tu.The first chapter mainly analyzes the macro-temporal construction of the work,the special reading mode of the banner long scroll,and gives the static picture a dynamic rendering effect;the second chapter mainly analyzes the characteristics of the spatial performance in the Qingming Shanghe Tu;The third chapter is the focus of the article.Combining the perspective theory with the spatial cognition of the ancients,it focuses on the analysis of the formation of the spatial structure in the Qingming Shanghe Tu,and summarizes the rules and rules of spatial construction.The fourth chapter comparative analysis of the spatial structure in the Qingming Shanghe Tu of Three different periods of Song dynasties,Ming dynasties and Qing dynasties.Exploring the development direction of Chinese painting perspective across time dimension to verify the non-blindness of the development of Chinese painting perspective.