about Us

Tracing the past and integrating the present: the inheritance of Moge

The writing style has been passed down for three hundred years, and the craftsmanship has been passed down for seven generations.
The history of Mozhou Pavilion dates back to 1758, the 23rd year of the Qianlong Emperor's reign. Our ancestor, a descendant of the Wu School of Painting, studied under Emperor Qianlong's imperial painter, Xu Yang (style name Yunting), imbuing him with the essence of blending Western perspective with traditional brushwork. After returning to Suzhou, he founded Molin Studio, establishing a family tradition of imitating calligraphy and painting.

Seven generations of inheritance, a century of refinement
From the ancestors who learned the method of "imitating the ancients to communicate with the gods" to the contemporary creation of digital reproduction systems, seven generations of masters have always sought breakthroughs in the balance between tradition and innovation:

  • Foundational Period (18th-19th century) : Based on Xu Yang's concept of "fusion of Chinese and Western", he created a unique layered dyeing and texture technique, infusing the court aesthetic into the context of Jiangnan literati painting.

  • Innovation period (late Qing Dynasty and early Republic of China) : Absorbing Shanghai School art and Western perspective, reconstructing the time and space expression system of fine brushwork painting

  • New Era (21st Century) : Through AI brushstroke analysis and mineral pigment database, the ancient techniques have a quantifiable inheritance gene.

Over the past three hundred years, from using a wolf-hair brush to "dialogue with the ancients" on rice paper to using a spectrometer to analyze the layers of azurite in "A Thousand Miles of Rivers and Mountains," only the tools and ambitions have changed, while the unchanging principle is the adherence to the ancestral precept that "brush and ink should follow the past and present."

"Jiu Mo Zhou Ge" was officially launched in 2016, combining the ancient mounting method "Suzhou's Thirty-two Methods" with digital color analysis technology, so that each work is based on the strength of the ancient method and also has the charm of the times.

The original intention of writing: Let classics illuminate contemporary life

“We are not the replicators of history, but the translators of cultural genes.”
Moge artists always adhere to three major creative principles:

  1. Dialogue with the ancients through imitation : In-depth study of the brushstrokes of masters throughout the ages, extracting the essence of Gu Kaizhi's "Ancient Gossamer" and Bada Shanren's "Dry Ink Freehand" techniques

  2. Recreating artistic conception with ingenuity : Using the "Five-Step Appreciation Method" (observing the spirit, analyzing the bones, imitating the form, refining the spirit, and determining the rhythm) to reconstruct the picture layering

  3. Inheriting aesthetics : Let classic calligraphy and painting be practical and remove the glass display cabinets of the museum, the real Cass modern space

Masters of Painting: Moge's Creative Team

Academic think tanks: top authority empowers technological innovation

An expert committee led by professors from the National Center for the Protection and Restoration of Ancient Paintings and Calligraphy regularly conducts academic seminars on "Interpretation of Ancient Paintings" every year:

  • In-depth discussion on "Interpreting Ancient Paintings" : Analyzing the hidden brushwork layers of masterpieces such as the Palace Museum's "Departure of Police and Return of Imperial Guards" and the Shanghai Museum's "Gao Yi Tu," and refining endangered techniques such as "Nine Levels of Ink Painting"

  • Mineral pigment database construction : Through synchrotron radiation light source detection of past works, the first "Chinese traditional color cyan spectral feature library" was established

  • Quality control system upgrade : Formulate the "Simulation of the Spiritual Rhythm Score Mysterious Dimension Standard" to transform the wonderful "Spiritual Rhythm" into perfect brush and ink skills

Sugong Temple: The contemporary pinnacle of ancient mounting techniques

The framing workshop adheres to the "Three No Principles":

    • No chemical pulping agents are used to replace the traditional paste (using Taihu winter wheat to extract starch)

    • Do not use mechanical pressing to replace manual grinding (each piece needs to be pressed by a 100-jin agate roller)

    • No synthetic silk is used to replace real silk fabrics (exclusively customized with Suzhou Kesi Factory for cloud and phoenix pattern silk)

A Promise for the Future: The Three-Dimensional Practice of Cultural Heritage

The cultural mission of Jiumozhouge is to establish three dimensions with the power of breaking through barriers: to immortalize the skills of generations in digital genes, to revive the ancient aesthetics in the contemporary context, and to deeply root the elite art in the soil of Fox.

The "Double Helix Revolution" of cultural heritage: We have invested tens of millions to build the "Oriental Ink and Calligraphy Gene Bank", which contains the DNA of 387 masters of calligraphy and painting. It is not only the most comprehensive digital ark, but also a positive physical space relay: civilization,

  • Rescue Dimension: Deconstructing 23 critical techniques at the border, the lost "Silk Hair Broken Brushstroke" technique from Li Di's "Maple Eagle and Pheasant" from the Southern Song Dynasty was precisely recreated on new silk, with a projection of just 0.003 mm.

  • Revitalization Dimension: Based on the new mineral color developed by the research on the aging of lapis lazuli in Cave 217 of Mogao Grottoes, it actively promoted an academic revolution: the permanent exhibition "Green and Heavy Colors of Successive Dynasties" at the Shanghai Museum and the restoration of "Eight Views of Xiaoxiang" at the National Oriental Museum of Tokyo.

  • Communication Dimension: Our "Civilization Gene Bank" project is enabling the warm texture of Yunnan Gaoligong Mountain's intangible cultural heritage parchment and the millennia-old fibers of the "Kuaixue Shiqing Tie" to form a mirrored "cultural evaporation organism" in the digital universe. Decoding ancient formulas through a common data pipeline—this "brush symbiosis experiment" that transcends time and space has been described by the journal Art Review as "reconstructing the spiritual essence of Eastern aesthetics in the bit torrent."