Chenxiong Yinghua- A Brief Stduy Of "Su Mo" Applied In Chinese Painting

Chinese nation has a five-thousand-year history. Such an ancient nation with a long history and splendid culture enjoys unique artistic taste. The most important elements of the Chinese painting is Chinese writing brush and ink, which is of great importance on Chinese painting emphasized by most of the artists in history. The importance can be found in each important theory of painting. Brush is a special kind of painting tools, and ink is the unique painting language for Chinese painting. The use of Chinese ink has endowed a Chinese painting with oriental taste and realm. And the ink places is a kind of Chinese painting "ink method", which has been referred to in the book of Lin Quan Gao Zhi authored by Guo Xi in Northern Song Dynasty. However, the method was not been widely applied because of the lack of deep understanding of the ink places. The spirit of the ink places unique in the Chinese painting is the fruit of the ancient painters’ exploration, and hard work. Some people say that the ink places is the product of the development of the method of the use of ink and water in Chinese painting, and I think that the ink places has existed since ancient times, but the study places for special aesthetic features ink and ink about how to use the sink is not too much, not too many paintings by the ink applied to their places among the screen. This paper summarizes a number of contemporary artists, especially the pioneer Huang concentrated ink and light ink sink to sink pioneers Wu Shanming ink application and development, to illustrate the transformation of the development process and places ink techniques, combined with their own but also in the creative process there are many painters to explore the feelings and experiences. From the composition, techniques, colors, and other aspects of analysis of special interest due to the effect of irregularities places ink unglued caused stagnation and line pen, ink and water seepage caused by post, the aesthetic properties of the traditional form of Chinese painting language Exploration innovation, dig out potential places of ink, to create his own distinctive artistic style, showing a very unique artistic charm. Its special aesthetic features of the national character strokes and ink law gives the texture of, the rhythm of nature, simple, rhythm and creativity. In the context of globalization, ink places, as part of Chinese ink painting method, also faces opportunities and challenges. If the ink places want to develop, we want the right to know the history of traditional culture, cannot be regarded as a traditional frame, seen as stubborn things, and learning cannot be considered "foreign" painting, that is, for the Chinese nation infidelity, infidelity traditional culture, we should be learning the traditional to the modern spirit of value orientation, to create the artist’s personality as the main basis of social reality, and to learn the essence of traditional creation. Traditional culture into new ideas and vitality, not only have the continuity of tradition, but also open and transformative. Our culture and tradition is not entirely the boundaries of artistic concepts but needs to constantly update. The real art is the projection of the human spirit and the times. Therefore, Chinese painting should also follow the historical trend, with the contemporary spirit of continuous change and innovation.