Abstract: The "Eight Scenes of Xiaoxiang" disseminated throughout the Pan-East Asian region has promoted excellent Chinese traditional culture. Its creation and subsequent copying have illustrated the aesthetic traditions of scenery cognition of the Xiaoxiang Countryside. Wang Hong's Eight Scenes of Xiaoxiang is a material carrier of the poetic dwelling concept of the literati in the Song Dynasty. The work provides an image reference to identify sightseeing spaces in the Xiaoxiang Countryside, reflecting the literati's perception, preference, and aesthetic appreciation of landscape resources. By examining Wang Hong's Eight Scenes of Xiaoxiang, one can gain insight into traditional countryside sightseeing spaces and construction formulas in the historical context. The development logistics of "landscape recognition-review-creation" in Chinese landscape culture were disclosed. The historical mission and multiple functions of countryside landscapes can be highlighted. A total of 1110 painting works of sightseeing in the Song Dynasty were classified generally using image element interpretation methods, from which 246 works were selected. Three types of landscape spaces were summarized based on the logic of habitat creation, including wilderness, countryside, and city & garden. After the image analysis of countryside sightseeing spaces, Wang Hong's Eight Scenes of Xiaoxiang was analyzed and types of countryside sightseeing spaces of Song Literati in the work were recognized through "interaction between people and landscape". The Song Dynasty's perception of the countryside landscape, represented by the Xiaoxiang region, is formed by nature, society, and humanistic backgrounds. During the Wei and Jin Dynasties, the aesthetic consciousness of the ancients was shaped by their landscape appreciation in Xiaoxiang, advocating for "Yumu aesthetics". From the Tang Dynasty to the Five Dynasties, the poems of Xiaoxiang reflected the aesthetic appreciation of countryside, making "Xiaoxiang" a representative countryside landscape and forming the concept of contrast with urban environments. In the Song Dynasty, the aesthetics of the human environment was further developed, and the "Eight Scenes of Xiaoxiang" became the visual representation of the "countryside sightseeing space." Wang Hong's Eight Scenes of Xiaoxiang represents the earliest and most complete surviving pictorial source, encompassing a diverse range of scenes and figures engaged in sightseeing activities. It shows the paradigm of Xiaoxiang sightseeing and the experience of countryside sightseeing during the Song Dynasty. The characters in this work can be divided into two categories: literati & hermits, and ordinary townspeople. These two groups engage in two distinct types of activities: sightseeing and production. Through the analysis of the elements in these paintings, four types of typical Song Dynasty countryside sightseeing spaces were identified, including Jiangting Siwang, Liqiao Guanjing, Wochuan Youguan, and Ge' an Tiaolan. Additionally, the construction formulas and causes of sightseeing spaces were analyzed. This demonstrates the visual experience of architecture as the primary focus of the countryside viewpoint. In addition, it illustrates the cultural associations of countryside landscape imagery through the viewing characters in the painting. It also establishes a spatial and temporal structure of dynamic landscape evolution, which combines the beauty of the landscape, customs, and harmony. Wang Hong's Eight Scenes of Xiaoxiang contains typical countryside sightseeing spaces of the Song Dynasty rooted in the Chinese cultural essence of the landscape space system integrating "time," "scape," "people," "architecture", and "landscape." Based on the connections of "sightseeing activities" with "time", "space", "architecture", and "landscape", it reflects concerns of landscape subjects on spatial and temporal changes in landscaping art. The mode of "Eight Scenes" has become an important blueprint for human settlement construction in urban and rural areas. Its influences have extended to urban-rural landscaping in Pan-East Asia. Establishing the large-scale countryside sightseeing space system and maintaining continuity of cultural heritage and landscape-water systems in regional spatial and temporal patterns are conducive to extend the historical culture, transmit wisdom of the era, expand civilization, and create a new landscape under the concept of a beautiful China.

Key words: Eight Scenes of Xiaoxiang, Song Dynasty, countryside, sightseeing space, construction formulas

摘要： “潇湘八景”图像在泛东亚地区的国际传播中弘扬了中华优秀传统文化，其产生与摹写彰显了潇湘郊野观景认知的审美传统。王洪《潇湘八景图》是宋代文人诗意栖居观念的物质载体，提供了识别潇湘郊野游观空间的形象写照，以图中人物作为基点讨论“游观”活动，通过“人景互动”线索识别画作表现的江亭四望、立桥观景、卧船游观和隔岸眺览四类宋代文人郊野游观空间。总结宋代郊野游观空间的构景理法在于彰显点睛建筑空间的视觉逻辑、投射郊野风景意象的文化联想、建构风景动态演变的时空结构三个方面，体现了多层次郊野景观审美的嵌套关系。探索历史语境下传统郊野游观空间的发展逻辑，推动中国传统城乡风景营造经验的交流互鉴，有助于绘就美丽中国理念下整体景观建设的新图景。

关键词: 潇湘八景, 宋代, 郊野, 游观空间, 构景理法