Abstract: “Curved brook for drinking and poetry” (Mandarin: qushuiliushang) is a synonym of the ideal landscape environment in the mind of Chinese literati of all dynasties. This research analyzes the evolution of the Orchid Pavilion images handed down in the past dynasties, and further explores the characteristics of “curved brook for drinking and poetry” landscape image in paintings different from the real world based on researches of the Orchid Pavilion archaeology. It has found that: 1) The focus of the drawings has shifted out of portrait to landscape, and the composition of the paintings has been inherited and innovated based on four basic schemes; 2) The Orchid Pavilion in the real world has undergone several changes, from a natural environment free from human interference to a memorial garden of strong artificial implications. However, in the Orchid Pavilion paintings of past dynasties, the place of curved brook for drinking and poetry has always been in the natural environment. With one or two pavilions to add artificial interests, these Orchid Pavilion paintings have maintained the basic idea of launching limited artificial construction in the natural landscape environment. From the perspective of the paintings, this research provides a useful supplement to the study of the ideal recreational landscape environment in the context of Chinese traditional culture represented by the landscape image of “curved brook for drinking and poetry”.