Recently, I am studying Chinese painting, and my youngest daughter is very incompetent. This is a picture I drew for my friend, but I don't pay much attention to inscriptions and seals.

Inscriptions and seals are unique arts formed in the development of Chinese painting. Ming seal is also called inscription, inscription and inscription. According to literature records, inscriptions have different names, such as "inscription, engraving, knowing and remembering", "inscription is concave, engraving is convex" and "inscription is external and engraving is internal". After the Tang and Song Dynasties, flower-and-bird painting rose, poetry prevailed and influenced each other. Some painters put poems into their paintings as the title of the paintings, which can also explain the meaning. In the Ming Dynasty, Shen Hao concluded in Dust: "The title and painting are footnotes to each other."

According to Zhang Yanyuan's Records of Famous Paintings in Past Dynasties, it began in the Southern Dynasties with Emperor Liang Yuan. In the Song Dynasty, there was a saying in the Notes on Calligraphy and Painting in the Qing Dynasty that "the song title need not be printed, and the title cannot be printed". Due to the rise of literati painting in Yuan Dynasty, poems, books and seals were gradually used in painting. For example, Su Dongpo likes a long postscript, which is written in big characters. Almost every painting by Zhao Mengfu has a topic, and there are many poems and books. After the Ming and Qing Dynasties, painters were almost untitled, long and tedious, with questions and postscript, or poems or articles. Some paintings even focus on the inscriptions, with bells printed on them. In addition to one or two names, they are also printed casually to express their feelings or as an auxiliary means of layout.

1 Inscription, postscript and printing fully express the meaning of painting and the organic composition of painting mirror.

The content of the picture needs an inscription and seal, which can fully express the artistic conception and meet the artistic appreciation requirements of the viewer. Therefore, in the Tang Dynasty, Wang Wei put forward the theory of "painting in poetry, poetry in painting", or pointed out the theme, or implied the significance of painting, or expressed the painter's feelings about a painting material, or expounded his own artistic views. Wang Mian, a painter in the Yuan Dynasty, painted plum blossoms with long branches, with fresh charm and light pen and ink. Petals are light, stamens are heavy, refreshing and full of vitality. There is a poem on the painting: "I am the first tree in Xiyan Lake, and the flowers are all pale." Don't let people boast that the color is good, just stay angry. " Through inscriptions, poems and paintings complement each other, telling the meaning contained in the paintings and expressing the realm that the author is not in cahoots with the secular world. If the picture needs more questions, or one question after another, it doesn't seem cumbersome, but it enriches the picture and opens up a new realm and new pattern. For example, in Wang Bi's "Ink Bamboo Map", there are many inscriptions interspersed among bamboo forests, with different styles and different characters, but they are not redundant at all, which makes the poems and paintings of the works glow accordingly and immerse the viewers in this simple and fresh painting environment.

Inscriptions and seals can enrich and perfect the picture.

Inscriptions and seals play a great role in the picture composition. Inscriptions and seals are treated differently in the picture, such as position, word number, style length and so on. , to be carefully arranged. We should also carefully consider the size and density of characters. The title is refined and appropriate, making the title and seal an indispensable element of the picture. It's really the right place to discard a word that is too short and add a word that is too long.

2. 1 angle machining. Pan Tianshou said in "Essays on Painting in Tingting": "The arrangement of painting should pay attention to the arrangement in painting. In particular, we should pay attention to the four corners of the picture, so that it can be connected with the painting materials outside the painting, and the momentum can be passed down so that we can enjoy it outside the painting. " In his work "Little Dragon's Corner", there is a feeling that the four sides of the picture stand out from the painting. Although the painting materials are small, the momentum is great. But in order to make a complete work, he put the inscription in the upper left corner of the picture frame and the seal "Cage as the bottom" in the lower right corner of the picture frame, so that two of the four corners were in different spaces, and the hair scattered in the four corners was stopped, leaving only the upper right corner and the lower left corner slightly empty, which made the stream have a vein and a more comfortable momentum. The painting "Spring Scenery" has two inscriptions, which are in the gap between the branches of the square peach and willow. The inscription is: "The West Lake is full of peaches, which set each other off in the DPRK, especially rich and beautiful." Play a connecting role. The other one is in the lower right, with the title "People who live at the top of Leipotou Mountain have another title". These two places have played a role in blocking the picture and avoiding looseness. Its seal * * * uses five sides, and the name stamp and corner stamp in the lower right corner have the function of increasing momentum.

In particular, the word "shou" next to the word "you" in the first chapter of the above title and the lower right paragraph is well-intentioned, appropriate and unique in the position of the seal.

2.2 black and white operation. Blank on the screen is a topic that China painters often pay attention to. Because blank is an important factor in the formal beauty of the picture, it is a necessary condition to form the momentum and charm of the picture. That is, "white is black", white is virtual, black is real, black is whiter, and white places are more difficult to deal with than black places. After drawing black on the blank, it can't be modified. It may be too solid and rigid. If you leave too much blank space, you may feel empty or unattractive. Sometimes, after the blank map is arranged, it is difficult to clean it up, so it is remedied by withdrawing money. For example, Wu Changshuo's "Falling Flowers, Falling Beads and Spring Dew" depicts wisteria dancing in the spring breeze. The wisteria in the picture is concentrated on the left side, and the right side is almost blank, too empty and difficult to clean. However, he connected them with inscriptions, such as "Flowers drop pearls, leaves drop spring breeze, bloom in June, Wu Junqing in June", and printed "Cang Shi" in white, which enriched the picture, unified up and down, and added rich and varied artistic effects.

2.3 Balance of retraction and retraction. If the picture is too peaceful, dense and messy, it must be cleaned, commonly used, printed and broken; If it is too dangerous, too loose and too scattered, it is also connected with the inscription, which makes the picture broken and connected, increasing the momentum and rhythm of the picture. For example, in Pan Tianshou's "There are so many beauties in the mountains", the horizontal title and cymbals are printed in the middle of the frame, and the mountains are far away from the river. This method seems to break the real connection and increase the sense of harmony between the weight of distant mountains and the horizontal flow of rivers. It seems to be an inseparable part of the river, and it is like the reflection of a distant mountain, which makes the picture change and coordinate. The inscription on the painting is horizontal or vertical, located near the corner or middle, and the number, length and size of the words are single or multiple paragraphs ... these must be subject to the needs of the content and picture of the work. It can also be said that the content arrangement of the picture determines the position and format of the title and seal of the picture. So the printing of many works is often considered at the same time as the composition of painting materials. This is especially true for pictures with less painting materials and more inscriptions. For example, in the painting "Scenery of Jiao Mo", there is a title in several places in the sky "A Monk's Day named Jiao Mo Songshi: If it snows fast, it will clear up. If I make a landscape, it seems that there is too old snow in the gap between trees in the mountain, or I can ask a monk for a song and stone language. But the painting materials and artistic conception are completely different. The original painting must seek common ground between different places and between black and white, which monks have long known. I made this cold medicine on a hot day, and I have known it for a long time. " This inscription not only points out the theme of painting snow scenes. The large inscription completely fills the sky and turns it gray, which achieves the effect of using light ink to render the snow scene, making the work more "like the artistic conception of accumulating ancient snow". The bell in the lower right corner has a "strong bone" corner print, which plays a role in shielding the picture. The seal is square, and the red color echoes each other on the screen, which plays a refreshing role.

The styles and pictures of inscriptions and seals are coordinated and unified.

China's calligraphy has highly unique artistry. Put orthography, cursive script, official script, seal script and other varied fonts on the frame selectively and organically, so as to make the "integration of painting and calligraphy" more perfect. But the style of calligraphy should be consistent with the brushwork pattern of painting. For example, in Song Dynasty, Gong Li in Evonne, Gu Zhuo in Jinnong, the strangeness in Zheng Banqiao, the indulgence in Zhao and the boldness in Wu Changshuo, their calligraphy and their paintings are in harmony. In Huang Shen's "Drunk Fairy Map", the immortal lies beside the jar and falls asleep. The lines of the characters are splashed with ink, and the inscription is also written in bold cursive script: "Whoever turns iron into immortality will break through the years." Where are the awning shoes? I was drunk on Huashan Mountain. Melon ". The brushwork and painting of the inscription are consistent, harmonious and unified, which shows the vivid drunkenness of the immortal and enhances the artistic conception of the painting.

China contemporary painting master Mr. Lu Yushun's landscape paintings are also a perfect combination of books, paintings and seals, especially in the poetic series of the Tang Dynasty. The lines that constitute the image of mountains and rivers are stone lines, missing lines and weeds lines extracted from calligraphy. These tempered lines are used freely in the picture, enriching the artistic conception of the picture and adding interest. The number of words in Mr. Lu Yushun's inscription is also memorable. These words engraved on Tang poetry are not only poetry and calligraphy, but also an important part of the picture. Through it, the relationship between the reality and the reality of the picture is balanced, and combined with the fantastic, strange and beautiful lines and ink in the picture, it shows rich artistic conception and charm of the poem, making the work rich and colorful. At the same time, the number of seals on Lu Yushun's works is also very large. Starting from establishing his own style concept, he introduced the new, integrated the traditional achievements, and contrasted with the classical spirit, forming the beauty of his printed volumes, full of traditional ancient charm. This complements Han bamboo slips and Tang poems in landscape painting. Formed its own unique artistic style. Because the painter combines calligraphy and painting, and makes an organic connection in composition, line, color, pen and ink, the picture is divided, interspersed and connected, and the functions of realism, density, opening and closing, care and so on are enhanced, making the picture richer. Looking at a painting is like listening to a symphony. In the movement, all kinds of painting materials, pen and ink, calligraphy, seals and other melodies are ever-changing and colorful.