What are the five strokes and seven strokes of Huang?

Among Huang's seven methods of five strokes, the "five strokes" are flat, left, round, heavy and changeable. The "seven ink methods" are thick, light, broken, accumulated, splashed, burnt and lingering.

One, five strokes

1, flat refers to gentle strokes, even strength, heavy, full of charm, without jumping and fluttering. Huang believes that the pen should be like a cone drawing sand, with a clear beginning and end, and the pen should be delivered without weakness.

2. Round means that the lines are round and thick, elastic, the trees are not straight, and the stones are round. Huang believes that calligraphy should be applied to painting. Brush the outline, such as the words are horizontal and straight, the pen is sharp, the pen is rotated, the seal method starts and ends, and the head and tail are connected.

Should be like "folding sticks" and "water shield strips", constantly hovering, let it be natural, and keep the brushwork vigorous and round in beautiful lines, not gentle and lovely. Furthermore, it is pointed out that Dong and Ju Pima have never been to Kwai Kok with the round pen as the center.

3. Keeping is an effective pen control, and it can be kept, such as "leakage marks", which are accumulated into lines, relaxed and free, the pen is reviewed, the ruler is reflected up and down, and there is no trace from beginning to end. The lines are calm and heavy, and the strength can lift the tripod. It is also pointed out that Li Houzhu's "Jin Cuodao Law" and Yuan Zhen's "Garage Mud" are both "stay" laws.

4. When you use a pen again, you must have a sense of strength and heaviness that penetrates the back of the paper, such as a stone falling from the mountain. Specifically, the pen should rustle and sound when running on the paper, which is to the point.

5. Change is a comprehensive change and mutual mixing on the basis of flatness, roundness, staying and heaviness, so as to obtain the ancient law and surpass it, such as heaviness, lifting, frustration, Fiona Fang and urgency. And express emotions in change.

Second, seven inking methods

1, thick ink method

Ink is less mixed with water and darker in color, which is used to show the dark side, depression and close-up of objects. Thick ink should be rich and vivid, and you should draw quickly after dipping your pen in thick ink. Not excessive, easy to stagnate, not vivid. Huang quoted Dongpo as saying, "If it is black instead of unique, it will be dull and lifeless. Make it clear and not floating, as delicate as a child's eye. "

2. Light ink method

Ink is mixed with more water, which is lighter in color, and is used to show the facing surface, protruding part and foreground of the object. There is wet light and dry light. Wet light is to dip the pen in water first, then dip it in a small amount of thick ink, and draw it quickly after a little blending. Light ink is easy to produce weakness and lack of spirit, so use light ink to be clean and without residue, and to be "light but not floating".

3, breaking the ink method

With different water quantity and ink color, a new ink color effect expression method is produced through layer-by-layer superposition. There are usually shades, moistening, inking, inking and so on. When the ink color is about to dry, in order to take advantage of the natural penetration of water. Also pay attention to the change of the direction of the pen. The straight pen is penetrated by the horizontal pen, and the horizontal pen is penetrated by the straight pen. The characteristic of ink-breaking method is that the pen marks at the infiltration place are hidden, interpenetrating, pure natural and rich in natural beauty.

4. Ink accumulation method

From shallow to deep, the method of repeated staggered stratification. The characteristic of ink accumulation method is that you must wait for the ink to dry once, and then draw it for the second time, so that the ink color of the picture can be bright, rich and colorful. Use the ink accumulation method, and the strokes should be flexible. No matter whether the center or winger is used, the shots should be staggered, properly gathered and scattered, and not rigidly stacked.

Pay attention to the difference between the first ink color and the second ink color, so that you can see the pen marks, which should be seamless and have handwriting ink marks to find. A well-used ink accumulation method always keeps the luster of ink, and the more ink accumulated, the more glorious it is; If there is gray dead ink after drying, the ink accumulation method will be invalid. Bin Weng believes that the ink accumulation method is based on Mi Yuanzhang, which is dense and bright.

Hook the clouds and accumulate ink to make up their clouds. Ink painting, ink does not hinder ink; As a boneless method, color does not interfere with color; Natural colors are colored, and ink is in ink. Among all the ink methods, the accumulated ink method is the most commonly used ink method of Huang, and it is also the biggest feature of his works.

5, splash ink method

The painting method of large ink quantity, large area and large pen head. This method is full of ink and water. Although it is dry and wet, it has a sense of nature and strength, but it has great contingency and randomness, and it is easy to have both reasonable and unexpected effects. There are two ways to splash water. One is to splash the ink directly on the paper, and add appropriate stippling with a pen according to the naturally oozing ink; The other is to splash ink with a pen. This way of splashing water is easy to control.

6, coke ink method

The pen is dry, sluggish, dignified and expressive. The key to the usage of Jiao Mo is that the root of the pen still needs a certain amount of water, so that when the pen is squeezed, the water can seep out of the burnt ink and achieve the effect of moistening Jiao Mo. Haste makes waste, and age is endless. However, Jiao Mo should not be used more. Compared with the wet pen, it shows the meaning of Jiao Mo, making the painting dry in the autumn wind and moist in the spring rain.

7. Ink method

Mo Yun degumming method of soaking ink in clear water on rice paper every other day or several days. Su Mo's infiltration of Xuan paper is more pen and ink than new ink, and it has an ethereal and simple aesthetic feeling. Su Mo is often used in the last kind of ink, which can make the finishing touch if used well. However, due to the separation of dross in Su Mo, it is very easy, hard and dirty to use it badly, so Su Mo with high pen and ink skill should be used.

Extended data

Among the seven ink methods, Huang is best at keeping ink. Every time he touches the thick ink in the picture, the ink is darker and brighter in the black, thus strengthening the contrast between black and white and making the picture more colorful. Huang believes that there are trade-offs in the specific application of the seven ink methods.

Seven kinds of ink methods are used for painting, which are called legal preparation; Secondly, you must use five kinds, at least three kinds, and you can't make a painting without three kinds. Huang is a master and master of "five strokes and seven inks". Especially in his later years, he painted with the big seal brushwork, which was thick and dignified, vigorous and powerful, spicy and childlike, calm and vigorous, and showed an inner beauty.

Flexible alternate use of various ink methods, paying special attention to ink breaking, Jiao Mo and ink accumulation, and incorporating techniques such as water method and ink dipping, which are dense and dense, in-depth layer by layer, miscellaneous but not chaotic, clear in the clear, strong in the clear, bright in the black, colorful, natural and radiant. Huang's paintings are not only vigorous and powerful, penetrating the back of the paper, like whispers, but also light, moist, round and heavy, with a strong three-dimensional sense.

Although the predecessors also used "five strokes and seven inks", Huang first summed up this set of methods into a system theory, and reached the extreme and realm in practice, thus forming a brand-new black, thick and thick painting style. In a word, his "five strokes and seven inks" method provides theoretical support and practical guidance for creating the realm of Chinese painting, which has far-reaching influence.

Phoenix net-five strokes and seven strokes-on Huang's painting techniques (2)