Pō mò (English spelling)

Japanese: 潑墨 - はつぼく（英語表記）pō mò

In Chinese painting, the depiction of mountains, stones, etc., is based on visual associations that arise from the shapes created by appropriately pouring and scattering ink. It was started by painters Gu Xing and Wang Mo, who were active in Jiangnan during the mid-Tang period. It was a rebellion against the tradition of Tang painting, which placed extreme emphasis on brushwork, and marked a turning point in the shift in the central genre of Chinese painting from figure painting up until the Tang dynasty to landscape painting from the Song dynasty onwards. The lineage from Li Cheng to Guo Xi, which constitutes the mainstream of the history of Northern Song landscape painting, is characterized by depicting mountains and stones as if they were clouds, a complete adaptation of ink-on-water painting, which makes use of the associative abilities inherent to human vision.

Source: Heibonsha World Encyclopedia, 2nd Edition Information

Japanese:

中国絵画において，墨を適宜そそぎ散らしてできる形からくる視覚的な連想に従って山や石などを描きだすこと。中唐，江南で活動した画家顧姓，王墨らによって始められた。用筆技巧を極端に重視した唐朝絵画の伝統に対する反逆であり，唐代までの人物画から宋代以降の山水画に中国絵画の中心的ジャンルが移ってゆく節目の役割を果たした。北宋山水画史の主流をなす李成から郭熙への系譜が，山や石を雲のように描くことを特長とするのは，人間の視覚に固有の連想能力を利用する潑墨画のそれを換骨奪胎したものである。

出典　株式会社平凡社世界大百科事典第２版について　情報

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