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This theme focuses on the painting art of the Lizong dynasty of the Southern Song, and based on the specific surviving works of the Lizong dynasty, it explores the interaction between the image-making of the Late Song period and the natural weather, the political power, and the Confucian orthodoxy, and then links the evidence of painting and calligraphy with the history of weather, politics, and ideology, so as to understand the development of the Chinese culture of the Late Song period in a new and more comprehensive academic posture. In the overall structure, it is proposed to adopt the perspective clue of “entering the palace courtyard and stepping out of the palace wall” to analyze the palace craftsmen and folk workshops in the Late Song period from a comparative perspective. In the specific chapters, it is proposed to adopt the logic of “heaven (universe) - climate (ecology) - nature (everything)” from macro to micro to carry out the focus of the case form. The analysis and interpretation will be guided by the sense of the problem, taking care of the visual history of the late Song Dynasty, such as the Lizong Dynasty of the Southern Song Dynasty. The topic is organized around the following two main areas: on the one hand, looking at the entire history of Song dynasty painting, the paintings of the Lizong dynasty of the Southern Song Dynasty were already mature, and many of the paintings were full of politics and ideology. Whether it is the court paintings or folk paintings of the Lizong dynasty, they all show the stage of ecological awareness between the painter and the viewer, which can be roughly summarized as the production motives under the influence of heavenly disasters, the style shaping under the stimulation of climatic changes, and the construction of pictorial meaning behind the awareness of nature, etc. On the other hand, if we move from the court to the private market and analyze it from a comparative perspective, we will quietly find that the folk painting scene of the Rizong dynasty showed more vitality and vigor. Along with the increased circulation of the group of painters between the court and the folk, the folk painters produced more independent choices and business strategies. Moreover, in many folk painting fans flowed out more literate thoughts and emotions, which is also a profound revelation and research value for the theoretical discussion of the history of painting and the academic study of Yuan and Ming paintings in the “Song and Yuan Changes”.