A Comparative Study Of The Formal Language Of Ogata Kren And Yun Nan Tian's Mogu Flower Paintings

Ogata Kren is an irreplaceable flower-and-bird painter in the history of Japanese art.Ogata Kren combines water,ink and powder with other media,separates them from the underground life of the city,creates a unique method of "slipping into" boneless painting,and achieves outstanding artistic achievements,which has an important impact on the flower and bird painting after Edo period in Japan.Yun Nan tian is one of the six great masters in the early Qing Dynasty in the history of Chinese fine arts.He was born in an official family in between the Ming and Qing Dynasties.At that time,the social unrest,the collapse of the Ming Dynasty and the rise of the Qing Dynasty on the stage of history,the political changes made the cultural changes and began to reflect on himself.Yun Nan tian was able to explore Mogu in this atmosphere.While he could not inherit the traditional boneless,he also explored new collisions.Water collision powder has no bone method,creating a new situation of boneless flower painting.Based on the background of Ogata Kren's and Yun Nan tian's life times,and with their distinct boneless flower paintings as the main line,the author studies the similarities and differences of formal language from the aspects of subject matter,composition,creative techniques and development impact by means of practical study,literature analysis,image analysis,comparative study and scientific experiments.This paper attempts to present the complex causes and cultural origins behind a technical phenomenon.