Yun Shouping And Ju Lian "Boneless" Research Peony As

This dissertation introduces the definition of ‘boneless painting method’ at first, andthen explains its formation and four peak periods during its development. Theboneless flower of Xu Chongsi in Song Dynasty was the first peak period; MingDynasty was the second peak time; In Qing Dynasty, the boneless painting methodof Yun Shouping opened up a fresh outlook which formed the third peak period; Inthe middle and late Qing Dynasty, Lingnan School reached the fourth peak ofthe traditional boneless painting method. Secondly, this paper interpretscomprehensively the ‘boneless’ painting method of Yun Shouping, including: YunShouping chose this method as his own creative painting way based on followingthree points out of analysis: firstly, because of his scholar’s thought as the adherentsfrom last dynasty; Secondly, he tried to find a new way because he was not willingto be the second in landscape painting; thirdly, in order to cater to the marketdemand, he had to choose a painting style to appeal to both refined and populartaste. This paper also analyses the ‘boneless’ painting features of Yun Shoupingin three aspects: firstly, explain his pursuit of painting’s ‘unlikeness’ by ‘likeness’achieved by the boneless painting method to sketch natural flowers; Then, interprethis graphic pattern by his view of ‘colour, light, shape, charm’; at last, conducttheoretical analysis on the ‘emotion’s expression’ in hisboneless painting. Subsequently, this paper analyses the change of Ju Lian’sboneless painting in three points. Then, through the ‘sketching’ and ‘free-stylepainting’ comparison between boneless peony figures of Yun Shouping andJu Lian and their ‘powder’ and ‘water’ using comparison to illustrate the relation anddifference of the boneless painting method between them. Finally, by the analysis of the boneless painting method of Yu Shouping and Ju Lian and the comparisonbetween their boneless peony paintings, it brings the inspiration and analysis incontemporary painting. Meanwhile, the painting practice can also help tore-understand and re-construct the ‘boneless painting method’.