The Technique Of "Water" In Ming Dynasty’s Flower And Bird Painting

The Ming Dynasty’s flower and bird painting was a boom, a variety of methods had developed. Bian jingzhao and Lv ji were kept up the traditional of imperial art academy, And free-style paintings has developed in Ming Dynasty, Lin liang, Shen zhou, Wen zhengming, Chen chun, Xu wei, they are good at free-style painting, And Sun long is a master of Mogu painting. Mogu painting in the Ming Dynasty not only inherits the traditional painting brushwork, but also developed the lying brushwork. It not only enriched the brushwork of traditional painting language, but also emphasized use water. Oblique brushword and lying brushwork has multiple results like thick, light, dry, wet feel and infiltrated effect, enhance the aesthetic level. It is different from Yuan dynasty’s dry brushwork, the free-style paintings of flower and bird painting in Ming dynasty use calligraphic skills, with the increasing amount of water from emergence to prosperity, the role of water in the art of Chinese painting is becoming more and more important. As a painting language to learn from each other, Mogu painting’s method is from stand-up brushwork to oblique brushword and lying brushwork; The use of water method is from harmonic to stagnant, infiltrated and splashed. The essay is taken from the comparison of the calligraphic painting language and mogu painting language, investigated the similarities and differences between them. Thus, the unique application mode of the water by Mogu flower and bird paintings is got. The paper presents different features from the different material, After all, it is a matter of taking the initiative. Because of the characteristics of the material, Shengxuan has a good performance of water seepage, water and ink can penetrate into the paper quickly, but Shuxuan is not, it is penetrate slower, this gives them a chance to stagnant, infiltrated and splashed. From the point of view of the use of writing brush, the free-style paintings emphasize calligraphic brushwork, it has more ink interesting. Mogu painting is as well as stagnant, tinted and overlying, it is provide a broader space for water. It is based on this, the essay discusses the technique of "Water" in Ming Dynasty’s Mogu painting, it from the mixing agent to self-sufficient, and has a special aesthetic value.