在宋元时期的壁画与卷轴画中，带有飞檐与斗栱的高等级建筑形象十分多见，而且已明显成为了当时绘画中的一种表现潮流。这一现象往往被简单地理解为对地上建筑流行趋势的一种“再现”式反映。然而，对于再现艺术而言，木构建筑的檐椽与斗栱结构复杂，不易描绘；另一方面，依唐宋律令，作为建筑构件的飞檐与多层出跳的斗栱，不能为寻常建筑所使用。那，当时的画家如何在二维平面上“再现”具有复杂前后关系的立体建筑构件？建筑图像能在多大程度上表现真实建筑？此期大量出现的华丽建筑图像，其所“反映”的性质及其在作品中的实际意义又是什么？是什么因素导致了宋元建筑图像大量出现，并成为潮流？ 基于这些问题，本文先从“仰画飞檐”的旧题入手，尝试从檐椽画法的细节，讨论画样对建筑图像透视角度的影响。继而细读各类宋元图像中的斗栱画法，特别选取山西宋、金、元时代的三处寺观壁画为标本，结合实体建筑、砖雕、小木作等各类存世的建筑形象，及历史文献，展开图文分析。从“如何再现”与“为何再现”两个角度，分别作出以下推测：一、宋元时期，画样与界尺的使用对图像中檐椽与斗栱的具体画法产生了决定性的影响；二、因为画样的局限，建筑画虽能如实地反映实际建筑的大致情况，一些细部描绘却趋于程式化，却也正因其程式化的处理而更贴近建筑史的发展潮流；三、唐宋律令的规定及皇权威仪赋予了檐椽与斗栱有关神性与等级的指意，使描绘飞檐、斗栱的建筑在绘画中特指寺观、衙门、贵族屋宇一类的高等级建筑，并在叙事图像中起到了划分等级与彰显人物神性的作用；四、唐宋之间，绘画中趋于合理的人、物比例规律及逐渐成熟的工程图描绘技法是宋元建筑图像流行的前提条件。

In the temple murals and scroll paintings during the Song and Yuan period, the high-grade architectural image with flying eaves and bracket sets are very common to see, and it has obviously become the trend of presentation in painting at that time. This phenomenon is often simply understood as the reflection of "representation" of the trend of the above-ground building. For the representation art form, however, the complicated rafters and bracket sets of wooden architecture are actually very difficult to paint, and meanwhile, according to the laws of Tang and Song Dynasty, the flying eaves and multilayer bracket sets as the building components shall not be used in ordinary buildings. Then how did the painters represent the three-dimensional architecture components with complex relations on a two-dimensional flat surface? To what extent would the architecture image reflects the real building? What is the reflected nature and practical significance of those abundant magnificent architectural painting appeared in this period? What were the factors that lead to the emerging of the architectural image which had become a trend in the Song and Yuan period? Based on these problems, this thesis first starts with the old topic of "painting the flying eaves as if one was looking up at them", and tries to discuss the influence of Huayang on the perspective angle of architectural image according to the details of the painting technique of rafters. Then it proceeds with the image-text analysis by carefully studying all kinds of painting techniques of bracket sets adopted in paintings in Song and Yuan period, specially chooses the murals of three temples in Shanxi during the Song, Jin and Yuan period as specimens, combines various existing architectural images such as real building, tile carving, non-structural carpentry and etc. and the historical literatures . Eventually it makes the following presumptions respectively from the two aspects of how and why to "represent": firstly, during the Song and Yuan period, the use of Huayang and line-brush and ruler has exerted decisive influence on the detailed painting technique of rafters and bracket sets; Secondly, due to the limitations of Huayang, even though the architectural painting can faithfully reflect the general idea of the actual architecture, some detail paintings still tend to be stylized, but it is just because of its stylized processing, it gets closer to the developing trend of the architectural history; Thirdly, the provisions of the laws of Tang and Song dynasty and the impressive and dignified imperial power had made the rafters and bracket sets associated with divinity and hierarchy, which made the buildings with flying eaves and bracket sets in the painting usually referred to as the high-grade buildings for temples, government office and aristocratic family, and also in a narrative painting it works as a revelation of hierarchy and divinity of characters; Fourthly, the increasingly rationalized proportion of people and object and the gradually mature engineering drawing painting technique at the interval of Tang and Song dynasty have been the precondition for the architectural image to get popular in Song and Yuan dynasty.