What does "splashing ink" mean?

1. The name of the Chinese painting technique of splashing ink.

According to legend, Wang Qia of the Tang Dynasty used ink to splash paper on paper, and then smeared it with his feet and hands. He could shape it into rocks, clouds, or water according to his will. He painted clouds and clouds and dyed them into wind and rain. It was like a magical skill. The ink stains were not visible when looking down.

traces (see "Records of Famous Paintings of the Tang Dynasty").

Li Rihua of the Ming Dynasty's "Bamboo Lazy Painting of Ladies": "Those who splash ink use ink delicately, and no handwriting can be seen, just like splashing out of the ear." Shen Zongqian of the Qing Dynasty's "Gate Zhou Xue Hua Bian": "Ink is called splashing ink, mountain color is called splashing green, and grass color is called splashing

"Green, splashing is the best way to express the charm of the painting." In later generations, it means that the pen is full of ink, whether it is dotting or brushing, the ink is dripping, and it is majestic, which is called "splashing ink".

In modern times, there is also a bold and bold painting method that mainly uses color, which is called "splashing color".

2. Splash-ink method Splash-ink method was founded by Wang Qia (also known as Wang Mo, Wang Mo) in the Tang Dynasty, and is recorded in "Records of Famous Paintings of the Tang Dynasty" and "Records of Famous Paintings of the Past Dynasties".

Wang Qiaxi drank heavily. After getting drunk, he undressed his clothes and splashed ink on the silk. Then according to the shape of the ink, he painted mountains, rocks, forests, springs, clouds and rain, and they were all integrated. People at the time called him "Wang Pomo".

The so-called splash-ink method in later generations refers to the freehand painting method with bold strokes, dripping dots, blended ink and ink, and majestic momentum.

To do this, the brush should be larger.

Use a water-filled pen tip, dip it in a suitable shade of ink, and boldly draw out the shape of the rocks.

You need to be confident when using the brush, with appropriate weight and weight. It can be heavy or white, and changes with the shape of the object, so that you can naturally obtain rich, moist and vivid ink colors.

3. Splash-ink landscape The so-called landscape refers to the scenery in Western paintings and photography.

The realm of landscape is the most important in Chinese painting, but it also needs the assistance of brush and ink.

If there is a realm but no pen and ink, or if there is a pen and ink but there is no realm, it will not become.

Its structure and location must be given special attention to make it look like a picturesque temple. These places should not look like other people's cottages, as they are like Feng Shui.

You will naturally understand this statement if you read more about ancient people's famous sites, as well as famous mountains, rivers, scenic spots and historic sites.

If you draw a picture, it mainly contains people's homes, but it is exactly like a cemetery.

If such a painting is hung in the nave, would others feel comfortable after seeing it?

Can it still be fascinating?

Guo Heyang talks about painting, which should be able to be viewed, traveled and lived in.

What he means by "observable" is that as soon as one looks at this painting, one becomes interested and wants to look at it again and again, lingering on it.

In the second step, I wanted to go out and have fun. In the third step, I thought about how I could move to such a good place!

This kind of landscape is considered sufficient.

Some people say that Chinese landscape paintings are flat and trees seem to be sawed in the middle. This is absolutely not true.

Since the Tang and Song dynasties, there has been a school of literati painting in Chinese painting, which inevitably focuses on brushwork and ink but neglects the theory of painting.

If you carefully observe the famous works of the Tang and Song Dynasties, you can fully understand the strict principles of painting, spring, summer, autumn and winter, rain, rain and snow.

Dong Yuan painted trees with branches sprouting from all sides, and the mountains and rocks looked as if they were illuminated by the setting sun.

The sweet and the bitter are the same as the trees. They have branches but no trunks. How can they be flat?

When painting landscapes, you must be realistic. Look at famous mountains and rivers, strange peaks and cliffs, dangerous mountains and flat slopes, misty clouds, rushing waterfalls, and the grand view of the universe. It is ever-changing. Unless you have seen it with your own eyes, you cannot rely on your imagination to reach the tip of your pen.

If you have seen it with your eyes, you will naturally have it in your chest. With the flick of a pen, it will naturally run under your wrist.

The most important method of painting mountains is chamfering. The ancients had various names for it, but they just realized it based on the mountains and rivers they saw.

Which kind of chapping method should be used to spread the word, and what kind of shape is seen, so it is called so-and-so chapping. It is not forced, but this chapping method must be used.

For example, Beiyuan uses hemp chaffing, because the mountains south of the Yangtze River have more soil than stone, and because the trees in the painting are lush, it is suitable to use this chaffing method.

If Fan Hua originally painted the mountains and rivers in the north, including the Taihang King's House, there are more rocks than soil, the ground is high, and the grass and moss are sparse. Naturally, it is suitable to use methods such as pulling nails out of the mud, beating the wall with rain, and ghost faces.

What would the appearance of the two masters be if they were transformed into each other?

So I don’t need to be rigid about the landscape chapping method. As long as it suits a certain kind, use a certain kind of chapping method.

The ancients have several methods of chapping, including lotus leaf chapping, big and small ax chapping, hemp chapping, rain-beaten wall chapping, nail chapping in the mud, cloud chapping, folded belt chapping, ghost face chapping, ox hair chapping, horse tooth chapping, and roll chapping.

It is commonly used to remove chaps and alum lumps.

4. The representative figures of splash-ink landscape painting are Wang Wei's ink landscapes and Wang Qia's splash-ink landscapes; the Five Dynasties and the Northern Song Dynasty saw the rise of landscape painting, with many authors, such as Jing Hao, Guan Tong, Li Cheng, Dong Yuan, Ju Ran, Fan Kuan, Xu Daoning, Yan

The ink landscapes of Wen Gui, Song Di, Wang Shen, Mi Fu, and Mi Youren, and the green landscapes of Wang Ximeng, Zhao Boju, and Zhao Bosu, compete with each other in the north and south, reaching their peak.

Since then, it has become a major branch of Chinese painting. Landscape paintings in the Yuan Dynasty tended to be freehand, using virtuality and reality, focusing on the charm of pen and ink, creating a new style. In the Ming and Qing Dynasties and into modern times, there was continued development and new looks.

5. Splash-ink Immortal "Splash-ink Immortal" is the earliest existing freehand splash-ink figure painting.

It can be said that after Liang Kai broke away from the painting style of the Academy of Painting, he found a new way and became unique in his painting creation. He created a masterpiece of "reduced brushstrokes" in painting creation.

Except for the demeanor of the immortal on the picture, whose face and chest are outlined with fine brushes, other parts of the immortal are painted horizontally and vertically with broad brushes. The brush strokes are smooth and the ink is dripping. It is bold and unrestrained, as if entering a place where there is no one.