| In the watercolor field, the British watercolor landscape has developed, away from the mainstream art to the dominant independent art in 19th century. Through the process, 'picturesque'is only one stage, but its visual approach—'Draw what you can see' has involved in almost all early British watercolorists in varying degrees.This thesis is through the concept of'picturesque', to take it as a clue and make a research. Firstly, by analysis of the British watercolorists works, this thesis helps to understand the relationship between the work style and the concept of'picturesque', excavate the spirit of art and historical lues. The most important is to grasp the practical significance in the life and in the creation of art. Secondly, the British painters accept 'picturesque'and expand its extension to create their own artistic style to reflect the times and the love to life, not confined to the bond of the traditional ideas. This attitude towards cultural inheritance and its development has a certain referential functions to our modern watercolor paintings. Chinese watercolor has passed the initial development for a century, now it becomes to the historical turning-point. The older generation has made a great contribution on the dissemination of the watercolor. The younger generation should recall the early development of the British watercolor, draw the experience from them and make more achievements. The cross-country cultural reference will help us analyze the plight of Chinese watercolor, then make a wise direction.The fusion of cultural art and historical features creates the national characteristics, complied with the watercolor art in the modern context. The works with Chinese distinguishing features are the aims, for both older generation and younger generation. This thesis tries to research the inheritance and development of the concept of'picturesque'in Britain and sort out as a younger generation how to develop Chinese watercolor paintings.
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