On Ju Chao And Ju Lian’s Technique Of Adding Water Or Powder To Still-drying Pigment

With the communication between cultures of the east and west going even more frequently, the research about paintings of the east and west has been going more and more profound, and getting magnificent achievements. Ju Chao and Ju Lian (the two Jus), who has the landmark-like significance in the early modern Lingnan painting history, creatively concluded the "technique of adding water or powder to still-drying pigment" and had it developed, as well as succeeded the technique of Mogu painting that had came into being ever since Yun Shouping. The technique of adding water or powder to still-drying pigment created by the two Jus had the aesthetic value originated from "water" hich fit for the aesthetic need of the modern people, this technique has expanded the developing space for modern Mogu painting, and it had the function and significance of succeeding the past and opening the future in promoting the development of modern Mogu painting.With On Ju Chao and Ju Lian s Technique of Adding Water or Powder to Still-dryig Pigment (Lun Ju Chao Ju Lian Zhuangshui Zhuangfen Fa) as its title, this thesis aims at doing research especially on this technique of the two Jus through recalling and developing the Mogu painting in the Qing Dynasty, and pointing out the revolutionary nature of this technique, which is its well control and creative use of "water" and "pigment" on the basis of succeeding the tradition. This thesis is divided into three chapters:the first chapter is mainly about the study of the success and development of the two Jus’technique, and defining the three concepts,"Mogu painting","Mogu painting technique", and "technique of adding water or powder to still-drying pigment". The "technique of adding water or powder to still-drying pigment" and the traditional Mogu painting technique are both techniques to paint Mogu painting, but they are different. The former is a creative and developed new technique on the basis of the latter. At first, this thesis sets forth the developing process of Mogu painting in different times:starting from the element of "water" as the character of Mogu painting by Yun Shouping in early Qing Dynasty, as well as Yun’s development on the technique of "using water", and going to the two Jus’research on their technique and the traditional Mogu painting technique, and pointing out the significance of the two Jus to the development of Mogu painting, and then stressing the return and development of Mogu painting in Qing Dynasty. The second chapter mainly discusses the revolutionary nature of the two Jus’technique of adding water or powder to still-drying pigment. Through studying the developing line in different dynasties of the technique of "using water", this thesis states in further manner about the revolutionary nature of this technique of the two Jus’on "using water" and "using pigment", through analyzing the relationship between "water" and "pigment" in that of the two Jus’, it actively finds the key status of "water" in the development of Mogu painting, as well as the important influence of the two Jus’technique to the technique style of Lingnan painting school. The third chapter mainly states the aesthetic value and its inspiration of the technique of adding water or powder to still-drying pigment originates from water. Through analysis on the meaning of the forming of modern local Lingnan Mogu painting and the inspiration to the development of Mogu painting today, and at the same time, combining the creation practice of it today, this thesis makes analysis on the aesthetic value of the effect of the painting image originating from "water", and thus establishes the modern significance of Mogu painting.