Therefore, in the paintings of the Song and Yuan Dynasties, we can see a large number of works describing architecture in detail, such as the well-known Riverside Scene at Qingming Festival. There are also some painters who are good at boundary painting, such as Guo Zhongshu and Wang Zhenpeng. They all played Parallel perspective to the extreme. However, from the works of these artists, we still don't see the clue of focus perspective.
Firstly, the level of ancient architecture in China is relatively backward compared with that in Europe, and the craftsmen engaged in architectural design have no social status, and many of their experiences are not valued by intellectuals. In terms of science, China lacks geometric tradition, which makes the experience of artisans unable to rise to the theoretical level, and architectural design cannot be guided by the theoretical level. In addition, the form of scroll of ancient paintings restricts the application of focus perspective. Only oblique projection on the extremely long horizontal axis can not only show the three-dimensional sense of the building, but also ensure enough space to accommodate a large number of scenery.
Finally, China's own artistic theory has matured very early, forming a path dependence. On the other hand, the literati class monopolizes the right to interpret art, emphasizing the spirituality and concepts of works and avoiding the application of realism and perspective theory. This "artistic will" intensified after the Song Dynasty and played an important role in the development of East Asian painting.