Language Tension In Zhao Yunlong’s Watercolor Bra Wing From Nature

Drawing from nature has been an important form of practice since the origin ofwatercolor, and this practice remains as the core in the development of watercolor,which is accompanied by continuous change and advancement in the way ofobservation and the techniques of expression. The vitality of a piece of painting isdecided by its insistence in drawing from nature. As Van Gogh said in his diary:“I hopeto have drawings from nature as many as possible, for drawing from nature functions asthe origin of future painting.” The essence of art should be this:“The more onebroadcasts, the more one desires for harvest.”Professor Zhao Yunlong is one of the most influential watercolor painters. Hispictures attain majestic visual effects for his bright colors, expressive ideas, wonderfulcolor assortment, and the subjects he has chosen in his pictures. Since the early1990s,Professor Zhao Yunlong has persisted in “Drawingness”, and his painting is thecombination of narrativeness and passion in Chinese Ink Painting and westernexpressionism respectively. His aspiration in drawing language plays an important rolein the history of Chinese watercolor.The previous study and comments on the language tension in Zhao Yunlong’swatercolor drawing from nature emphasize on the subjects, holding the view that hissuccess is due to his choice in subjects. In general, these comments deal with somefeatures of Zhao Yunlong’s pictures, but none has come to the detailed discussion on hisbasic elements: forms, lines, darkness and brightness, texture, space and color, and nonehas mention the changes in his style. This dissertation aims at the thorough analysis ofthe language tension in his watercolor drawing from nature, and the re-evaluation of hisposition and influence in the history of Chinese watercolor.