Study On The Style Genealogy And Drawing Law Of Architectural Image In Song And Yuan Boundary Paintings

What is the attribute of the Boundary Paintings,is "painting",is "drawing"(engineering drawing),or in between.The authenticity and accuracy of the architectural image in the boundary painting is related to the expression of component style,structural details and deep algorithm.Boundary Paintings mapping the internal mechanism and laws of its ontology,this law strictly follow certain system,salted with craftsmen or separately to disassemble the configuration elements,classification and collage,refactoring,intended to make a kind of art in the context of a "virtual building",make it become a kind of promoting the development of the plot,the manufacture of dramatic conflicts,nature is a special "props" narrative,As a "tool" for the expression of the subject,rather than being the expression of the subject itself.Whether the image of the building in the definition painting is synchronized with the technical system of the big wooden works at that time,that is,whether the image reconstruction enters a self-sufficient state and thus obtains the thorough "form self-discipline".The above questions finally converge into a macro proposition,that is,how to "prove history by drawing pictures".First,the "confidence" of the "graph" needs to be defined and graded relatively accurately with the help of quantitative analysis.Second,to make up for the lack of architectural history by drawing in reverse,it is necessary to first compare and verify the above formal analysis conclusions with the help of existing architectural systems,and "drawing" and "history" are mutually supportive and footnotes.The subjects of the study are the boundary paintings of the Song and Yuan Dynasties and a small number of important works of other eras.The basic research methods are image "formal analysis" and "large wooden system comparison".The two works are always accompanied by each other,and there is no difference in priority and sequence.Cases need to be analyzed one by one and finally summarized and refined.The following five important conclusions are obtained.First,the scale and proportion of the objects in the painting are basically the same as the design steps of the real construction of the large wood by means of the "modulus of wood" contained in the paving(reflect on the integral ruler system).Secondly,there is a close correspondence between the Boundary Paintings schools and the Technical schools.In the Song and Yuan Dynasties,the former was very sensitive to the "capture" and "re-presentation" of the changes of the latter.Third,The concept of building type "big and small three","small pavilion hall" is related to its scale and to the way in which it extends its space;Fourth,the alternate Yulin Grottoes type and Fashi type were the official technical system of the Song and Yuan Dynasties.Fifth ly,variation of proportion under eaves of official buildings occurred in the early Southern Song Dynasty.The phenomenon of paving "cai" becoming smaller and the number of "bujian" increasing did not appear until the Ming and Qing Dynasties.