| In the late Ming and early Qing dynasties,Yun Shouping stood out for his Mo-Gu Flower-and-Bird Painting,and later generations listed him as one of the "Six Masters of the Qing Dynasty".His Mo-Gu Flower-and-Bird Painting have two color features: light and rich.Scholars have noticed the existence of these two styles,but the academic community has not yet systematically distinguished them.This article is based on this and rigorously divides and summarizes the two using formal analysis methods.The first and second chapters of this article define two styles from the perspectives of color language and pen color structure.The light style is a summary of the overall elegant and fresh painting style,with color application as the language of color and dot dyeing and drawing as the brush color structure.The rich style summarizes works with the characteristics of Song Dynasty courtyard paintings,using color accumulation as the color language and sketching,dyeing accumulation,and sketching as the brush color structure.In the rich style,there is also a special form: the writing color body,which has two types of pen color structures: "dot write check" and "dot dye check".It was originally created by Yun Shouping.These two styles were born based on Yun Shouping’s different roles as literati painters and professional painters.The light style is based on the gradually stylized ink and wash freehand brushwork of flowers and birds since the Ming Dynasty,expressed in the form of colors,with strong writing ability and literary interest;The rich style is influenced by the market economy,which is closer to the courtyard style of flowers and birds since the Song Dynasty,in line with public aesthetics,and originated from Yun Shouping’s strategy of occupying the calligraphy and painting market.At the same time,this article focuses on the fact that the Yun’s Mo-Gu Flower-and-Bird Painting have gradually been represented by the "light" style in historical expressions.This cannot be separated from Yun Shouping’s self-construction and criticism of others.The copying,inheritance,and praise of his works by some key groups and individuals will effectively shape symbols for him.Of course,the more one pursues a clear division between the two styles,the more difficult it becomes to accomplish this task,not only because the two styles themselves are creative adjustments made by a complex person in different situations,but also because Yun Shouping is actively promoting the integration of the two.Therefore,the third chapter of this article attempts to grasp the overall appearance of Yun Shouping’s Mo-Gu Flower-and-Bird Painting colour,not only finding a basis for fusion in visual images,but also viewing the integration of the two styles in a historical context.Simultaneously questioning the motivation behind his fusion of two styles,responding from both his perception of self-identity and social responsibility.History will gradually blur Yun Shouping’s face,and art history will leave labels such as one of the "Six Masters of Qing Dynasty",the founder of the "Changzhou Group of Painting",and the "Orthodox School of Sketching",but it will not record his various struggles in the difficulties of his family and country.However,these struggles are the driving force behind the formation of the two styles.The article attempts to take two styles as an opportunity to glimpse the true Yun Shouping. |
