Architecture - Painting - Calligraphy - Architecture Already during the second half of the Tang period 唐 the face of large cities had changed from the strict pattern of UMWALLT STADTVIERTEL (lifang 里坊) to a WEICHBILD that was much more AUFGELOCKERT. It was especially the restrictions for markets - including night markets (yeshi 夜市) -, shops and foodstalls that were abolished and allowed commercial business to be established throughout the cities. Merchants and craftsmen were allowed to open their shops (dianpu 店舖) and workshops (zuofang 作坊) within AUSGEZEICHNETE specialized ZUNFTGASSEN. Other GEWERBE like (didian 邸店), restaurants (jiulou 酒樓) and other entertainment AXXX were also allowed to be founded within certain lanes of the city. Several monasteries UNTERHALTEN parks within the city that served as recreation zone for the inhabitants. Generally, larger compounds, monasteries and palaces (gongshi 宮室) during the Song period were not as large as during the Tang period, but instead architects spent more time for decoration and the XXX of details like glazed tiles (boli wa 玻璃瓦) and SCHNITZEREIEN (diaoke 雕刻). It was especially during the Southern Song period that craftsmen from the south (Jiangnan 江南) were engaged in the task to ornate the timber buildings with their pending roofs (xuanshan ding 懸山頂) and developed styles that endured until the Qing period 清. The capital city of Northern Song, Kaifeng 開封 (Bianzhou 汴州, Bianliang 汴梁; modern Kaifeng/Henan) was protected by a threefold city wall (cheng 城, chengqiang 城牆), each of the city gates (chengmen 城門) was protected by a tower (quelou 闕樓) and a counter-tower (dilou 敵樓). The inner city wall (neicheng 內城) enclosed the imperial palace (gongcheng 宮城, huangcheng 皇城), the city administration (yashu 衙署), monasteries (Buddhist siyuan 寺院, Daoist daoguan 道觀) and temples (cimiao 祠廟), residences of princes (wanggong zhai 王公宅), and the "normal" population with their houses, shops and XXX. The imperial city was located in the northwest of the inner city and was protected by large ECK-towers (jiaolou 角樓) and a heavily protected southern gate (Danfengmen 丹鳳門 "Red Phoenix Gate"). One of the largest halls of the imperial palace was the Daqing Hall 大慶殿 "Hall of Great Ceremony" where the great court audiences were held. The highest ministers met with the emperor in the Zichen Hall 紫宸殿 "XXX". In the northeastern corner of the Imperial city was an imperial garden with a hill (Genyue Hill 艮岳) and an artificial lake (Jinming Lake 金明池). Of all these buildings, nothing has survived. During the Song period several changes took place that should influence the lifestyle and architecture style leading to shapes and customs that are still in use today. People of Chinese antiquity did not use any chairs but were sitting on reet mats on the floor. This custom had been gradually replaced by the manner of sitting on high chairs and eating, debating and working on high tables like it is in common use today and has even been in the west. The traditional Chinese house and lifestyle thus developed during the Song period. This is also valid for the shape of gates, the ornaments of roofs and paintings on roof beams. In the houses of the rich, artificial gardens (yuanlin 園林) with mountains, river and lakes, chrysanthemums (mudan 牡丹, shaoyao 芍藥) in pots, GÄNGE (zoulang 走廊, huilang 迴廊, 回廊) and many different shapes of gates, entrances and passages created the atmoshpere of a microcosm that can still be admired in the gardens of Suzhou 蘇州/Jiangsu. Although the traditional house arrangement is a central court, flanked by four FLÜGEL (siheyuan 四合院), the EMPFANGSHALLE in the front in the south and the private rooms behind in the north, natural conditions - especially in the south - made it possible to ABWEICHEN from this pattern and to create ABWECHSLUNGSREICHE arrangements for chambers, GÄNGE and pavillions (ting 亭). There are still some Song Dynasty buildings and many temple statues left like the Shengmu Hall 聖母殿 of the Jinsi Temple 晉祠 in Taiyuan/Shanxi, the Double Pagoda 雙塔 of the Luohan Court 羅漢院 in Suzhou, the open Liaodi Pagoda 料敵塔 of Kaiyuan Monastery 開元寺 in Dingxian 定縣/Hebei, the pagoda of the state monastery Youguosi 佑國寺 in Kaifeng, or the archaic pagoda of the Yunyan Monastery 雲岩寺 near Suzhou. One of the most impressive monasteries of the Song period is Longxing Monastery 隆興寺 in Zhengding 正定/Hebei.	Song craquelee porcelain vase Guo Xi, 'Spring', landscape painting (detail) Calligraphy by Emperor Song Huizong 宋徽宗 Statue of a servant maid, Shengmu Hall 聖母殿, Jinci Temple 晉祠, Taiyuan/Shanxi Brick Pagoda Youguo Monastery 佑國寺, Kaifeng, Northern Song	Map and Geography Event History Emperors and Rulers Government and Administration Literature and Philosophy Religion Technology and Inventions Economy Arts
	Painting The Song period can be seen as the highlight in the development of traditional Chinese painting (huihua 繪畫). Main themes of Song painting were landscape scrolls (shanshui 山水 "mountains and rivers"), the living nature (huaniao 花鳥 "flowers and birds"), showing us pictures of bamboo, birds, horses and other animals, and of portrait painting (renwu huihua 人物繪畫). Song period painting based on a development that took already place during the turbulent period of the Five Dynasties and Ten Kingdoms 五代十國 where countless painters like Xu Xi 徐熙, Zhao Gan 趙干, Wang Qihan 王齊翰, Zhou Wenju 周文矩, Wei Xian 衛賢, Gu Hongzhong 顧閎中, Dong Yuan 董源, Guan Xiu 貫休, Huang Quan 黃筌, Huang Jubao 黃居寶, Huang Jushen 黃居宷, Jing Hao 荊浩, Gao Wenjin 高文進, Guan Tong 關同, Li Cheng 李成, many others from the regions of the south and of Western Shu 西蜀 (modern Sichuan). Many emperors at the begin of the Song period estimated painters and calligraphers and invited them to become members of the Hanlin Calligraphy and Painting Academy 翰林書畫院 (Painting Department 翰林圖畫院) that was sponsored by the emperors themselves. Even painters from far away like Guo Zhongshu 郭忠恕 from the state of Zhou 後周 and Wang Ai 王靄 from the Khitan empire followed the Song emperor's invitation and came to the Song capital Kaifeng where the Song emperors personally admired and collected numerous paintings. Emperor Taizong 宋太宗 even ordered famous masters to search for unknown painters among the populace of his realm to reward the best of them. The higher nobility, rich and influentious, imitated the art patronage of the Song emperors and likewise collected paintings and sponsored painters. Their patronage contributed to the conservation of famous paintings from earlier periods of Chinese art history. On the bustling markets of Song period cities, less known painters (minjian huihua 民間繪畫 "painting among the populace") that lived on painting sold their artworks to interested literate officials and wealthy merchants that contributed to the development of traditional Chinese painting and art culture. Some literate officials even started to paint themselves and produced a highly estimated genre of literati painting (wenren huihua 文人繪畫) with representants like Wen Tong 文同, the essayist Su Shi 蘇軾 (Su Dongpo 蘇東坡) and Li Gonglin 李公麟. Song period painting can be classified into four chronological periods. The first period is characterized by a kind of realism (xieshi zhuyi 寫實主義) with many landscape paintings drawn out with simple and vigorous strokes. Painters of this period were Li Cheng, Fan Kuan 范寬 and Dong Yuan. Later in the 12th century Yan Wengui 燕文貴, Xu Daoning 許道寧, Gao Keming 高克明, Zhai Yuanshen 翟院深, Li Zongcheng 李宗成 and Huang Huaiyu 黃懷玉 took over this tradition, but at the same time animal and flower painting experienced a first highlight in the painting of Xu Xi, Xu Chongsi 徐崇嗣 and the two Huangs. Guo Xi 郭熙, Zhao Chang 趙昌, Cui Bai 崔白, Wu Yuanyu 吳元瑜 and Yi Yuanji 易元吉 perfected these styles with their pure and soft and refined beauty. The age of Emperor Huizong 宋徽宗 who was a famous painter and calligrapher himself is seen as the second period of Song painting. Li Tang 李唐, Su Hanchen 蘇漢臣, Zhang Zeduan 張擇端, Liu Zonggu 劉宗古 and Huang Zongdao 黃宗道 are painters of this golden age of Song painting. At the imperial court, Li Gonglin, Wang Shen 王詵, Zhao Lingrang 趙令穰, Huichong 慧崇, Mi Fu 米芾 and his son Mi Youren 米友仁 and finally the young Wang Ximeng 王希孟 contributed to the perfection of Song court painting (gongting huihua 宮廷繪畫). After the escape to the south, Song emperors patronaged private academies that were staffed with painters like Ma Hezhi 馬和之, Liu Songnian 劉松年, Zhao Boju 趙伯駒, Mao Yi 毛益, the monk Fachang 法常, and Li Song 李嵩. The last period of Song painting is characterized by the beautiful landscape paintings of the south, created by painters like Ma Yuan 馬遠, Xia Gui 夏圭, Liang Kai 梁楷 - who adopted the satiric, humorous and comic-like style of the Chan monk painters -, Ma Lin 馬麟, Li Di 李迪 and Lu Zonggui 魯宗貴. Among the literati painters are further Yang Buzhi 楊補之, Zheng Sixiao 鄭思肖, Zhao Mengjian 趙孟堅 and Gong Kai 龔開. Calligraphy At the same time like painting, calligraphy reached a high point of new development. Calligraphy now became definitely an own division among art and made itself from being an vehicle of writing. Emperor Huizong 宋徽宗 himself was a famous calligrapher and thus represented the ideal of a statesman that was an artist at the same time, with universal knowledge and skills in arts, poetry, music and history. Other calligraphers were Cai Xiang 蔡襄, the essayist Su Shi 蘇軾, Mo Tingjian 莫庭堅, Mi Fu 米芾, Wang Tingyun 王庭筠, Ouyang Xun 歐陽詢, and Zhang Langzhi 張郎之. Porcelain also reached the summit of perfection, with a very simple but attractive glazing in white, green-blue and gray. Song time porcelain has exerted a deep influence on Korean porcelain that still today shows the same colours like that of Song China.