A pen aspect emphasizes ancients words "husband images must lie in the shape of the shape to be all their spineless, spineless shape are present in the conception and go almost a pen". Is the basis of the modeling for a painting, pen shape for the conception of the first, with a bad pen for bad painting. And the creation of Chinese painting, a pen is not a simple type of painting, its skillful use and integration of the emphasis on pen and line, pen with meaning, pens and force, I summarized as follows:

Orchid

1. Pen and line. The line is the most basic means of modeling of Chinese painting, to create the texture of the object, the amount of sense and movement, the line is essential. Specific to the use of the line, the painter must have a higher understanding of ultra specific image, refining, and the ability to express the painter to control the images of the basis.

2. Pen and meaning. Which is above the kind of words "spineless shape of all of this and go almost a pen at conception" of the specific requirements, mood this formless-like things, and how the three-inch brush through your hands to show to the viewers? This depends on the cultivation and skill of the painter themselves.

3. Pen with force. You can see when painters painting,  it really is preoccupied with the complete body energy of the creative process, getting a strong momentum square, write weakness, soft paintings, flaw has become also.

Chinese Bamboo Painting

This is a piece of ink bamboo showing amply the wet brush technique of the painter. He added a bit of glue in light ink to paint the bamboo stalk, making it light, full, and strong. The bamboo leaves, thick and thin, are painted with lively ink. The brushes are sharp, bringing out the characteristics of wet brush- one has to know exactly what one wants to paint and paint it in one go. The elegant stone in light ink, moss and grass slope in thick ink are alternately sparse and dense-just right, and showing the consummate skill of the painter. In his Chinese painting, we can somehow see light green in the light ink on the bamboo stalk.

This work portrays an old, bright red plum. The bulk of the plum is contoured with heavy charred ink before ochre is added. Ink and ochre divides the space and arranges the branches freely. The plum is sketched with ink circles and then filled with extremely thick red. The painter makes no distinction between the sides of the leaves, ignores structure and doesn't bother to paint the stamen. He cares only about the division of space. Compared to the plums painted by earlier painters and those grown in the real world, perhaps this plums are more appealing to modern aesthetic tastes in chinese painting field .