Ancient Chinese painting painters for ink is how to describe, what is the basis?

Brush, the thickness and length of the point-line yin and yang staccato, ink, withered and wet, thick and light, burnt, heavy, light and clear "the method of brush and ink"

Brush method: center stroke, side stroke, reverse stroke, back stroke, drag stroke;

Ink method: accumulation of ink, broken ink, splash of ink;

"the five inks and six colors "

Five inks: burnt, thick, heavy, light, clear;

Six colors: black and white, dry and wet, thick and light.

Writing ink and brushwork emphasizes the "interest of ink and brushwork". Methods of using brush and ink in Chinese painting

On the use of brush and ink

The use of brush and ink in Chinese painting lies in the fact that "the brush is used to establish its shape and quality, and the ink is used to separate its yin and yang". When the brush comes to the ink, the ink must follow the brush. The two are inseparable. But with a good pen may not be good with ink, the same ink may not be good with pen or good. Ancient comment for not very good pen and ink, said a "pen without ink" or a "ink without pen". Sometimes we also say in the evaluation of a painting its ink rhyme good brush force lack of hooves, is to show that the two aspects of the brush and ink can not be perfect. Because of the extreme importance of Chinese painting on the ink and brush, and ink and brush two, in fact, there is a relatively independent aesthetic value, ancient and modern in the discussion of ink and brush techniques, usually be treated separately. In order to grasp the essentials of brush and ink, here also according to the customary description.

What is brush and ink:

Chinese painting techniques, the most prominent is the brush and ink, assess a painting's good or bad, good or bad, the value of the high and low and identification of authenticity, are inseparable from the brush and ink. Only through the ink and brush can a Chinese painter paint the things he wants to express. The better the mastery of the brush and ink, the more the things expressed can "look like" and "stand out". Only by mastering the skills of brush and ink, what you want to draw can be like what you want to draw. Therefore, brush and ink is the life of Chinese painting, but also the soul of Chinese painting.

2), the use of brush and ink:

Ancient books talk about the use of brush and ink a lot of discourse, often make people feel inscrutable, it is difficult for the general public to understand. So we can use the pen and ink commonly understood as the use of brushes and ink way to show the effect of the expression of things, is a general term for the use of pen and ink. The transformation of brush and ink from a general term to a term of Chinese painting technique indicates that how to utilize their characteristics is a very crucial issue. The so-called "brush" is the line, point, and surface of a painting, and the line is the main one. The so-called "ink" is the intensity and depth (including color) of the strokes, and ink is the main one. Line and color (ink) are the main conditions of Chinese painting.

Human beings have used their intelligence to produce many ways of expressing their thoughts, and painting is one of them. Among paintings, Chinese painting has developed for more than a thousand years and has developed its own unique set of artistic language. Although art does not specify how it should be done, and painting does not specify how it should be painted, tracing the history of its development, it can still be found that there is a law to follow, and this law is to use the Chinese brush and ink to convey thoughts and feelings.

Outlining with the brush and separating light and dark with the ink are the main painting methods in Chinese painting. The brush should be light, heavy, thick, thin, slow and sharp; the ink should be thick, light, deep, shallow, dry and wet changes. In this way, the structure, distance and space of the object can be expressed. The method of using brush for painting and writing is the same, so we often say that "painting and calligraphy have the same origin". The method of using the brush in Chinese painting is closely related to the method of using the brush in writing. Writing is a synthesis of dots and lines, and painting is also a combination of dots and lines. Due to the different personalities and hobbies of each individual, the different ways of expressing things with brush and ink in painting have formed different artistic outlooks and styles. Chinese painting has big roots, y rooted in the Chinese land, passed down from generation to generation, with unceasing vitality, always in the same vein, its vitality contains full of national feelings, profound national characteristics and obvious Chinese characteristics. Chinese painting emphasizes on "external creation, in the heart of the source", the art requires to subdue the object, express the spirit, the object in the meaning, the emotion in the scene, to achieve the meaning of the pen first, the painting in the meaning, the unity of heaven and man, the object and I, the shape of God, the shape of God and the state of the realm of both God and the realm of the realm. Chinese painting attaches importance to the program and the beauty of the program, and the realm of the painting is presented through the beauty of the program and the form. Western painting is similar to drama, while Chinese painting is similar to Chinese Peking Opera, and literati painting is closer to Kunqu Opera, which emphasizes the character, connotation, meaning and realm. Therefore, in the process of creation, in order to express the feelings and fully develop the ideas, emphasizing the dynamic role of the author's mind. In the meaning, lyricism, free flow of emotions, seeking fun, and bone method of pen, line fabric has a close relationship with the ancient learning to paint the painter are from the practice of drawing circles and drawing squares to start, drawing circles is the practice of curves, drawing squares is the practice of drawing a straight line from all directions, learning a period of time, will be able to appreciate the mystery of the pen, this method is worth learning and using.

From the point of view of the development of Chinese painting history, the style of painting in each period is affected by the environment of the times, composition, ink, expression, etc. are reflected in the aesthetic trends of the time, but the spirit of the inner is inconvenient, the art is the expression of emotions, the ancients and the modern people's external material is completely different, but the inner spirit is all the same, which is why modern people are tireless study of ancient art. This is also the reason why modern people tirelessly study ancient art. Chinese painting is different from other kinds of painting is the mark of the ink and brush, from the harmony of the "six methods theory" to the Shi Tao "a painting method", series of copying the ancients to the life of the sketching, are the pursuit of a natural. The connotation of "unity of heaven and man" in landscape painting is the highest state of "a man is like his painting, and a painting is like his person". Painters want to express their thoughts and feelings, with the help of brush and ink this way to express, for the understanding of the brush and ink standard by four levels:

The first stage is to use the brush and ink modeling, but also the basic function of Chinese painting. (Simply think that brush and ink is the relationship between brush and ink.)

The second stage is to know the skills of brush and ink, whether it is the standard of Chinese painting. Knowing the variation of the brush and the effect of ink.

● "Bone brush" is also known as calligraphy brush.

● Changes in the line, such as "folding hairpin", "cone drawing sand" are described as changes in the use of the brush.

● The pen is the bone and the ink is the flesh, and the use of ink (including the use of color) is also a change in the use of water. The works that can use water are full of flavor, and the "leak marks" and "splash ink method" are also changes in the use of water. Others, such as the "salt method", "topography", etc., also belong to the category of ink and brush.

● "Knowing the white and keeping the ink", the picture of the white, composition is also a big relationship between ink and brush.

The third stage is to choose your own brush and ink and use it to form your own look. The third stage is to choose your own brush and ink and use it to form your own look.

● Chen Zizhuang's "Raw but familiar, familiar but raw." It is the expression of his rare confusion, the strong line is the beauty of power, the soft line has a lot of flavor, and the performance of the right use of brush and ink is the performance of a mature painter.

● "Yuan people a two strokes is not less, Song people a thousand strokes is not more." It refers to the use of ink and brush, each pen can find the basis, can see the master of the vein, is the stage of the **** nature.

The fourth stage is the creation of ink and brush without law.

● "Outside is the creation, in the source of the heart" "I have my own method, have my own" and so on is the painter long-term study, accumulation, rational use, put aside the inherent constraints of all the ink and brush, through the sketching, thinking about the creation of a brand-new language of ink and brush to achieve this point is a master of art, using their own brush and ink. This is the art of everyone, using their own language to perfectly express their thoughts and feelings.

● Bada's quiet solitude, Shitao's secretive and varied, Qi Baishi's simplicity, Fu Baoshi's dashing spirit, Li Keran's steady and modest.

3), the use of ink

Painting Chinese painting need to learn to use ink, general painting embracing oil smoke ink. Ink method is distributed with the brush method, painting Chinese painting to take the air with the pen, to take the rhyme with the ink, which is the pursuit of Chinese painting brush and ink. Ancient cloud "pen for bone, ink for meat", is a very appropriate metaphor.

The ink of Chinese painting is gradually formed in the continuous practice of painting, ink is based on the specific performance of the object and the decision, the light on the light, the thick on the thick, the ink is a level and change, these levels and changes are made up of the intensity and light, we often say: "ink in five colors" is the reason. The layers of ink used in Chinese paintings are roughly divided into burnt ink, thick ink and light ink, and between these layers, various levels of ink colors can be distinguished. The ink colors in Chinese painting are endless, and the purpose of using ink is to express the sense of volume, space, and texture of the object, not only to express the light and darkness, but also to use ink to write the shape and convey the spirit of the city. Ancient ink, by the "ink like gold" said, is the ink to the most refined way. (Such as Dong Qichang, so his works have been passed down for hundreds of years.)

Modern landscape painter Mr. Huang Binhong studied the ink method, he painted the ink, whether thick or thin, all glow, no obscure color, he painted in the book of ink method is summarized as seven: "ink method, ink method, broken ink method, ink method, ink method, ink method, ink method, ink method, ink method, ink method, ink method, ink method, ink method, ink method, ink method, and said that "the seven methods Qiqi," and said that "the ink method," said Dong Qichang, so his works have been passed down for hundreds of years unchanged. And said, "seven laws are used, said the law is ready, less than three can not become a painting."

Mr. Li Keran divided the Chinese painting ink into five levels, the average person can only reach two levels. Painting to three levels, it is very good, to four layers for the best, to five layers for the gods. This shows the importance of ink color in Chinese painting.

The beauty of ink, is that light and thick, all thick and light is no spirit, there must be thick and light, thick and need to be brilliant and not stagnant, light and need to be spiritually beautiful and not obscure, ink is also like the color, the ancient experience of the five colors of ink, but also the ink is like gold style of painting. Ink should also have a thick light, light in the thick; there is the most thick, second thick, slightly light, lightest, is to be flexible with ink, ink most avoid board turbid, board by the absence of thick and thin withered and wet, turbid by the absence of thick and thin withered and wet improperly handled and born to take the thick break light, light break thick method to avoid these ills.

The pen and ink combined with the use of any effect can be expected, the ancient cloud "with the pen can not be reversed for the pen, with the ink can not be reversed for the use of ink", "the pen in the ink is skillful, the ink in the pen can be". Therefore, the use of pen and ink must be combined, the light, heavy, slow, sharp pen and ink dry, wet, thick, light must be coordinated in order to produce good results. In addition, the key to the pen and ink skills is the appropriate use of the relationship between pen, ink, water, only the full play of the relationship between the three, in order to achieve the free use of the key is to practice to experience, and continue to absorb the experience, practice makes perfect, skill makes its own, it has reached the highest state of the art.

4), the use of line

The characteristics of Chinese painting is due to the formation of its unique painting tools, different tools are bound to produce different effects and different styles. The use of Chinese brushes is a feature of Chinese calligraphy and painting that shows the use of line in the early stage, and after hundreds of years of accumulation and development, the form of painting with lines in the main position was established in the Warring States period, and the characteristics of this artistic skill are typical of Chinese painting, which has typical national characteristics and unique artistic style. From the Palm Painting of the Warring States to the anonymous paintings of the early Western Han Dynasty, this form of painting utilizing concise and smooth lines has been used until now, giving rise to numerous schools of painting and revealing different regional painting styles.

Chinese calligraphy and painting art, both pay attention to the use of lines and changes, "line", is the creation of Chinese painting writing thoughts, molding objects, creating a mood, brewing the most basic elements and means. Chinese painters use brushes of different sizes, softness and hardness, as well as lightness, weight and urgency, to produce different black and white or color effects with ink on specialized rice paper. In the creation of calligraphy and painting, they focus on both artistic concepts and superior painting skills in their works, advocating the artistic realm of "external creation, in the source of the heart". It also shows the character, temperament and cultivation of the painter.

How to draw lines, that is, how to use the pen; how to master the ink that is, how to use ink. Roughly speaking, there are two ways to use the brush, both "center" and "side". In the center stroke, the tip of the brush is in the middle of the line, point and surface, while the tip of the brush in the side stroke is on top of the line, point and surface. The same line, due to the different strokes, the performance and feeling of the line is also different. In landscape painting, hooks, chafing, dots and coloring run through the skills of using the brush and ink. The four processes of "hooking", "chapping", "dotting" and "coloring" are the most basic, which are both the process of using ink and the process of using ink. These four processes are both the process of using ink and the process of using the brush. Brushwork is based on the need to depict the object, in the light and heavy, slow and fast strokes to make the lines show rich changes, Shi Tao said in the painting quotes: "Move with a spin, moist with a turn, live with a wide, out as a cut. Into such as uncovered, can square can round, can straight can curve, can up can down, left and right are flush, concave and convex abruptly (WU), the absolute cut horizontal and oblique, such as the water on the deep, such as the fire on the inflammation, and natural and can not be strong," said here is the use of strokes and the role of the brush, only the pen is good to carry the wrist, wrist, elbow, arm, can turn freely, eight sides of the front, can be rigid and soft and real, rhythm and staccato, no The only way to do this is to be good at holding the brush and using the wrist, hanging the wrist, hanging the elbow, and using the arm.

There are four aspects of penmanship that need to be understood and mastered, namely, speed, water, pressure and direction, which are mutually restrictive, interrelated and complementary. Calligraphy, the speed of the brush is called fast and astringent, fast for fast, astringent for slow. The effect of fast is sharp, the effect of slow is calm. Water more pen speed does not rise obscene, pen dry slow can also be moisturized, here to pay attention to the matter, line pen too fast non-floating that is withered flat, line pen too slow non-rising obscene that is demented artifacts. Therefore, fast and slow to fit the degree, fast and slow is just the way of expression, but also combined with other factors from the heart. The amount of water in the pen combined with the speed of the brush, the dry and wet, thick and thin is not as good as intended. Without the role of water, ink color can not change. The ancients said: "Painting should be good at using water, one should be clean, the second should be suitable, and the third should be broken." The so-called "autumn wind dry crack", "spring rain contains", "potential as collapsing clouds", "shape with broken brocade" and other effects of the generation of Are inseparable from the water in the pen, water with just the right, is the ink color mirror mellow, endless interest, fascinating, the pen on the paper pressure of different weight, can be wide and narrow, wet and dry, whole broken, just and soft and so on different lines and points, landscape painting in the chapping is mostly for the pressure of the pen on the paper and the formation of different. Pressure and moisture, speed combined, it increases the change and expressive power of ink and brush, from the position of the brush and run in different directions, can be divided into the center, side of the front, smooth front, against the front, the brush in the middle of the strokes is called the center, the brush in the brush on one side is called the side of the side of the front, from left to right, from the top to the bottom of the line of the pen is called a smooth front, and vice versa for the reverse front.

5), the role of the point

The point of moss is an important creation of landscape painting techniques, and its extensive use, not only to enrich and develop the artistic language and artistic style of landscape painting, but also greatly expand the connotation of the landscape painting mood, "Song method of carving and painting, and the Yuan changes," which is obviously a change in the art of landscape painting. Performance moss point using the symphony of the Ho line, is to show the flavor of the Jiangnan School of painting more profound, point in the picture realm to create the point of the line in conjunction with the "wonderful in the phase of the reference and unhindered", so that some of the complexity of the mood of the pallid can get in-depth performance. In the Yuan when the technique of radio to quite mature, and formed a distinctive point moss characteristics of each family, become an important part of the aesthetic style. Such as Huang Zijiu vertical point, Chen Shuming thirst point, Ni Yunlin horizontal point, Zhonggui save point. Not "fear of covering the mountains of the clever, the barrier chafing of the wonderful" (Shen Zhou) and not to moss method, but the development of "painting without moss method, the mountain has no life" point. Yuan four families represented by the "Yuan painting", point moss with the use of brush such as the regular, cursive chapped brush, is the picture of the artistic sense of flavor, interest greatly improved, which is also a prominent form of South painting features, point moss role up to five points:

(1). To separate the boundaries of the rocks and mountains;

(2). Remind the spirit of the rocks;

(3). Complement the lack of chapping;

(4). Instead of grass and distant trees to see the "grass and trees Huazhi" weather;

(5). (5) Matching with the line brush to see the variation of ink and brushwork.

Painting as a human consciousness activities, landscape painting author of the human impression of nature into an artistic image, imagination is between feeling and reason, but the generations of artistic consciousness, aesthetic concepts have variations, artistic methods are different, so the formation of a number of genres, appearance, visible point of moss to create a different form of the laws of nature and the connection is inseparable from natural phenomena must be subordinate to the requirements of artistic expression. The natural phenomenon must be subordinate to the requirements of artistic expression, artistic expression from the natural phenomenon.

Dot moss is a brush and ink in a technique that can not be ignored, dot moss can be regarded as small trees and grass on the mountain, can also be regarded as a small stone or other objects, but also play a role in breaking the ink. Ming Tang Zhiqi on the point of moss, when pointing out from the cracks in the stone, or thick or light, or thick and light, not more, not less, not dense, not sparse, the ancient painting has a horizontal point, straight point, there is no point of the moss, the first painting of a stone, no a decadent, so every point, must be comfortable. Point moss can not pull the intention to point pew, messy point for a while, moss point point of good can be very different interests.

6), the use of color

Ink painting out of the landscape painting, basically the beautiful scenery has been able to show the spirit. But to further demand more beautiful, more real performance will need this color.

(1), landscape painting coloring is basically divided into two categories: 1, light red coloring. 2 green coloring. (Some are divided into three categories, namely, light reddish-red, greenish-green, and ink.)

Before the Yuan Dynasty, landscape painting for coloring is very attention to the real, everywhere is against the actual scene, although not on the scene sketching, but also after a long time of comprehension of the scene, or in the outline of the draft for a detailed analysis, the creation of the painting is beautiful, durable. (Like qi baishi's manuscript small composition, there are a lot of notes, indicate what place how to paint, how to color, with what color, one by one, and exhaustive, see it seriously, of course, each piece of work will become a masterpiece.) Such as the Palace Tibetan painting "thousand miles of mountains and rivers" (Song Wang Ximeng made) green and green color is still as bright as new.

After the Yuan painters, most of the simple method. Only division of the ancients, not the creation. According to the copy of the ancients, lost the real.

Huang Zijiu painted the landscape of Mount Yu, according to the scene to create a light-red coloring method, painted to truly reflect the actual scene of Mount Yu, Ming and Qing painters inherited this coloring method, with the emergence of light-red landscapes.

(2), the use of color

The coloring of landscape paintings should, in principle:

Firstly, it should be clear, and it is natural to use clean colors.

Second, generous, more experience of real scenery coloring is generous.

Third, calm (that is, not frivolous), coloring should pay attention to the brush, not a light touch, dyeing objects or the sky and spring, need to be harmonious and not carving dew, will be calm and not frivolous.

Fourth, muddy. Dyeing should be coordinated with the original ink and ink fusion, do not make the color than the original ink and ink traces of carving, to color does not hinder the ink, ink and color fusion, you can achieve the thick Huazhi.

In general, the trick of coloring should be vivid and harmonious. Regardless of the color of light color, with green or light red, with color should be vivid and natural, there can not be the slightest stagnant place, the amount of water must be appropriate. Secondly, we should pay attention to the original painting of the ink base, so that he was everywhere ink and color in tune, "color does not hinder the ink, ink does not hinder the color," which means that the color is to help the ink is not enough, the ink is the backbone of the color, the color and the ink should be melted to achieve all the colors do not cover up the ink's luster, does not diminish the power of the brush, in order to achieve the role of coloring.

(3), the coloring of light-red landscape:

Light-red is red ochre, mainly ochre, at the same time, apply a light blue, with this method of coloring, to see the richness in the simplicity. First draw the ink draft with ink color, the pen should be concise and clear. After the ink is dry, with but this is the rendering, the dark part of the rock with a little bit of blue, (can also add a little bit of garcinia cambogia) to give a person a feeling of lightness and elegance.

(4), the coloring of green landscape The method of writing oriography, painters through the ages have summarized a lot of valuable experience, the more important of which is: "intention, force, rhyme, interest" of the "four".

(1) the intention of the brush

that is, the intention of the pen first, the painter to make the heart of the wrist movement, to a specific emotion, the idea to drive the ink, in order to image due to the intention to image to reach the intention. The pen is the pen of the general, unintentional pen is a dead pen. Painters through the ages to create art, so can be exciting, mainly in the painter in the ink and brush skills into the passion and interest.

(2) The power of the brush

is the strength of the brush, an important factor in the beauty of the form. The strength of the pen has two connotations:

The first is the power of the force. The so-called "force through the back of the paper", "the pen can carry the tripod" is a performance of the power of the pen. The degree of performance of the pen power has "old" and "young" said. The power of the old, to have a long refining process in order to do, the so-called "learning to the heart, hand in hand; fire to, since there is no board, carve, knot three disease carry on". Powerful and sophisticated painters, even if the soft lines, can also do soft, cotton hiding needles, there is an inherent strength. And beginners, no matter how much strength, the brush marks are still tender and powerless, so the brush is a long-term effort.

The second is the power of the force. It belongs to the skill of using the pen, as long as you master the method and law of using the pen, you can do it. Luck to make the force of the method, first of all, the pen before the intention to be powerful, to be fully concentrated, concentrated and quiet, and then with the intention to lead the gas, gas guide the whole body of the gas from the arm to the wrist, from the wrist to the finger, and then by the finger to the power of the end of the pen, so that the strength of the pen naturally penetrate the end of the pen. Avoid the surface of the sword, full of fire.

(3) pen rhyme

The so-called pen rhyme, there are flavor and rhythm of the two meanings. Rhyme, that is, through the use of light and heavy, solid and solid, rigid and soft, square and round, Xu Deng, staccato and other changes, to seek the unity and harmony of the picture. Like music, there is a tone, a main theme. Rhythm is to use the pen to have a sense of movement and rhythm. As in calligraphy, the rhythm of the line is emphasized, "Side method like a bird flipping yet down", "Le method like the reins of a galloping horse", "Light as the change of flowing clouds and water", "Heavy as the fall of a mountain", "Heavy as the fall of a mountain", "Heavy as the fall of a mountain", "Heavy as the fall of a mountain". "as light as the movement of running clouds and flowing water" and "as heavy as the momentum of falling stones from high mountains".

(4) Interesting brushwork

Interesting brushwork has two meanings: interesting and interesting. Interesting brushwork can make the viewer's eyes happy and get the enjoyment of beauty, so the interest of brushwork is the key to make the painting produce a sense of beauty in form. The interest of the brush lies in the skillful handling of the relationship between the raw and cooked brush, the skillful and clumsy brush, and the old and young brush. The pen is familiar and skillful, the beauty is beautiful, but it will flow in the artisanal, marketplace atmosphere. Therefore, the pen is valuable in the familiar and then raw, from the familiar back to raw, "painting to raw is ripe", only then born interest. Dexterity, marvelous brush, is not easy, but be wary of flowing into sweet and vulgar. Therefore, the use of the brush in the ancient and clumsy, from the clever and clumsy, pure and simple and generous, is the birth of fun.

The sky fun with the pen, hair in the pen, the so-called "good pen, good ink by chance", is an epiphany, a sudden burst of inspiration. Seek the pen's natural interest, of course, with the painter's talent, but more importantly, it is necessary to rely on the usual knowledge, cultivation and long-term hard work. c1, Chinese painting is concerned with the use of brush and ink, the use of brush includes (drop), (line), (close), ink, including the ink (thick and thin), (wet and dry) changes in the use of ink.

2. The basic techniques of traditional Chinese painting are (hooking), (chapping), (pointing), (dyeing).... The use of brush includes brushwork and brush power

The use of ink includes the quality and gradation of ink color