| "Pomo (splash-ink)" appeared as early as the Tang Dynasty of China, referring to a technique in which the painter first splashes ink onto the thin silk or wall, then goes on the creation according to the ink marks. In historic records, the earliest painter who attempted "splash-ink" was Wang Mo. However he did not have any works left to us, and the earliest "splash-ink" brushwork we can see now is the brushwork by painters in the Southern Song Dynasty. However, in the course of development of traditional Chinese painting, we can find very few painters who used the "splash-ink" technique to create artistic works. The reasons for that are many, but one of the most important reasons should be that the "splash-ink" works lack the "touch of brush and ink" which is most stressed in the aesthetical orientation of traditional Chinese painting. Moreover, the cause leading to "existence of ink but non-existence of the brushwork" in "splash-ink" is closely related to the special materials used in traditional Chinese painting.Likewise, in Western art, the drawing practice taking "splash" as the way of creation only appeared in the abstract expressionism in the middle of the 20th century. It is related to the material characteristics in Western brushwork. In China, "splash-drawing" also appeared in the 1960's and 1970s. Zhang Daqian and Liu Haisu attempted this technique, and got success. The reason for them to practice such a technique in a try also has something to do with the influence of occidental art.From the above research, we may find that, "splash", as a mode of artistic creation, involves many factors, such as movement in brushwork, material characteristics, art concept and so on. In modern times, "splash" has already become one of the basic skills of artistic creation. In my brushwork creation, I have also taken "splash" as the main, and used materials different from the conventional ones. My research subject is how to combine drawing mode with material characteristics better. |
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