A Study On The Exchanges Between Shandong Province And South Korea Before The Establishment Of Diplomatic Relation

The creation of landscape painting is based on the emotional observation and integration of Chinese landscape painters into their own life.The schema in landscape painting has changed significantly with the changes of the times.In the Sui and Tang Dynasties,the schema characteristics of landscape painting are mostly the pursuit of flatness and decorative meaning.The schema characteristics have been quite mature since the development of landscape painting to the Song Dynasty.During this period,as the peak of the development of Chinese landscape painting,two distinctive landscape schemas are becoming more and more mature: the "panoramic" composition of the Northern Song Dynasty dominated by the vigorous and magnificent style,And the "corner" composition of the Southern Song Dynasty dominated by lyric style.Among them,in the "panoramic" landscape painting of the Northern Song Dynasty,the painter accepted the influence of the ideological trend of learning,imitated the natural order in the picture,and projected a social hierarchical relationship of respecting the big and inferiority;In the "corner" landscape painting of the Southern Song Dynasty,what the painter wants to show is a utopian society in which heaven and man are harmonious and pursue a better life.This paper will use the methods of comparative research and iconology to explore the causes of schema evolution and the aesthetic value contained in it.The first chapter analyzes the causes of the evolution from the "panoramic" landscape of the Northern Song Dynasty to the "corner" landscape of the Southern Song Dynasty.The second chapter focuses on the evolution process of landscape painting from "panorama" to "corner" from the perspective of formal language.From the perspective of picture composition,the "panoramic" landscape painting of the Northern Song Dynasty adopts the overall composition of leaving the upper heaven and the lower earth,and the middle is determined to set the scene.Combined with the use of Guo Xi’s "three far method",it creates an atmosphere that can be visited and lived;The "corner" landscape painting of the Southern Song Dynasty is a partial painting of the scenery,which adopts the reference method of seeing the big from the small,which provides a broad imagination space for the viewer.From the perspective of picture format,the Northern Song Dynasty mostly expressed the "panoramic" landscape in the form of high hall vertical axis;In the Southern Song Dynasty,the landscape painting of "edge and corner" was mainly small and horizontal.From the perspective of pen and ink language,the landscape painters of the two times summarized a set of fixed stylized language according to their respective regional characteristics,and gave full play to the advantages of pen and ink to show the beauty of the scenery.The third chapter discusses the aesthetic evolution behind the "panoramic" and "corner" landscape painting patterns,mainly from the following two aspects: first,under the influence of literati painting thought,the aesthetic orientation of landscape painters in the two Song Dynasties changed significantly,and the picture changed from paying attention to shape similarity to "repainting external meaning";Second,the mood and realm conveyed by the painter to the viewer through the picture.The "panoramic" landscape painters in the Northern Song Dynasty presented a realm of "great beauty of heaven and earth" based on the expression of the real nature of heaven and earth;The "corner" landscape painters in the Southern Song Dynasty expressed the clouds and smoke of rivers by leaving a large area of white space,outlined the vast nature of heaven and earth with a few strokes,and presented a poetic and imaginative nothingness.