Recently, I have been learning Chinese painting, I am not talented, this is a painting I have finished and ready to send to my friends, but I don't know much about inscriptions and inscriptions!

Inscription and Inscription is a unique art formed by the development of Chinese painting. Inscription and Inscription is also called "inscription", "recognition", and "payment", according to the literature, there are different titles for "recognition", such as "payment, engraving", "recognition", "record", "payment for the concave yin character, recognition for the convex yang character", "payment outside, recognition inside", etc. After a long period of history, there are many different titles for "Inscription" and "Inscription". "paragraph outside, knowledge within" and so on, after a long period of historical precipitation formed, from the cultural relics inspection, the Han dynasty stone inscription is considered to be an early inscription on the painting, such as the WuLiangShi portrait stone of the zanjibar, WeiJinNanShanDynasty stone inscription. After the Tang and Song dynasties, the rise of flower and bird painting, poetry prevailed, mutual influence, some painters mention the poem into the painting, as the title of the painting, but also can be interpreted. Shen Hao of the Ming Dynasty summarized in his "painting dust" that "the title and painting, each other as a footnote."

Seal on the painting, according to Zhang Yanyuan's "Records of Famous Paintings Throughout the Ages", began in the Southern Dynasty, Liang Yuan Di, Song Dynasty, Qing Lu Shihua "painting and calligraphy said Inscription" in the "Sung people do not need to seal the name of the book, use the seal does not book the name". In Yuan Dynasty, due to the rise of literati painting, poems, books and seals were gradually used on paintings, for example, Su Dongpo liked long treks and inscribed them in large block letters; Zhao Mengfu was inscribed on almost every painting, and his poems and books were very beautiful. After the Ming and Qing Dynasties, the painters are almost no painting without title, long and detailed, with title and trekking, or poetry or text, and some paintings are even dominated by title and trekking, and inscriptions on the paintings, in addition to the name of one or two seals, there are also useful for citing the first, the pressure of the corner of the idle seal, for the words of the will, the sentiment or the layout of the auxiliary means.

1 Inscriptions and seals fully express the organic composition of painting and mirror

Inscriptions and seals are needed for the content of the picture, which can fully express the meaning of the painting and satisfy the viewer's artistic appreciation. Therefore, the Tang Dynasty Wang Wei put forward the theory of "painting in poetry, poetry in painting" and its content or point out the theme, or imply the meaning of the painting, or to express the painter's feelings about a certain material, or to illustrate their own artistic insights. Yuan dynasty painter Wang Coronation "ink plum", painting a horizontal branch folding plum, stretching a long branch trunk, strong and fresh, plum blossom light ink light dyeing and become, the petals light stamens heavy, refreshing and energetic, the picture title poem: "my family wash ink stone pool head tree, each blossom light ink marks. Don't want people to praise the good color, only leave the gas full of Qiankun." Through the inscription, the poem and painting complement each other, saying that the meaning contained in the painting, the author does not join with the world to express the realm. If the picture needs, or can be more titles, or a title again and again, does not seem cumbersome, but make the picture more substantial, open up a new realm, a new pattern. As in Wang Sash's "Ink and Bamboo", there are many inscriptions in the picture, interspersed among the bamboo forests, with different calligraphic styles and different sizes of words, which are not redundant at all, so that the works of poetry and paintings can be realized accordingly, and the viewers can immerse themselves in the simple, light, and refreshing painting scene.

2 Inscription and seal can make the picture richer and more perfect

Inscription and seal have a great role in the composition of the picture, and the different treatment of inscription and seal in the picture, such as the height of the position, the number of words, the length of the style, etc., should be carefully arranged. The size of the body of the word sparse, should also be well thought out. The title to the precise and appropriate, so that the title and print become an indispensable element of the picture, and really achieve the abandonment of a word is too short, increase a word just too long, to achieve just the right situation.

2.1 Edge treatment. Pan Tianshou in the "Listening to the Heavenly Pavilion Essays on Painting" said: "the arrangement of the painting, we must pay attention to the arrangement of the picture. In particular, attention must be paid to the four corners of the picture, so that the material associated with the painting outside the painting, the momentum of the undertaking, since it can be interested in the painting outside the painting." In his work "A Corner of Xiao Longchu", the four sides of the picture have a sense of extending out of the painting. Although the painting material is small, the momentum is big. However, in order to make a complete work, he placed the title in the upper left corner of the painting, and inscribed the seal "Cage for the lower" in the lower right corner of the painting, so that the four corners of the different blanks, the two corners of the real, to collect the four corners of the scattered hairs, leaving only the upper right and the lower left corners of the slightly empty, so that there are the ins and outs of the stream, and the momentum is even more comfortable. Spring color" painting, there are two inscriptions, which is in the middle of the painting in the middle of the peach and willow branches in the gap, the inscription is: "West Lake, more peaches, and towards the middle of the mirror, especially see the rich color." Played the role of the top and bottom of the link. Another in the right side of the lower center, the inscription is "Lei Paotou Feng Shouzhi and the inscription" a few words. Both in the picture to play a stop, so as not to make the role of loose. Its seal *** with five square, its name under the paragraph chapter and the lower right corner of the corner of the chapter, play the effect of growing momentum.

In particular, the upper title of the first chapter and the lower right side of the "and" character "life" chapter, in the position of the Inscription, can be said to be well-intentioned, appropriate and appropriate, there is a place of originality.

2.2 Black and white operation. Leaving a blank space on the screen is a subject that Chinese painters often pay attention to. Because the blank is an important factor in the composition of the picture of the beauty of the form, is the formation of the picture of the momentum and rhythm of the necessary conditions. That is, "to count white when black", white is false, black is real, cloth black more to cloth white, white places than black places more difficult to deal with. After painting black on the blank space can not be modified, it may be too solid, too stagnant. If you leave too much white, you may feel empty or lack of flavor. Sometimes after the blank layout of the picture, it is difficult to clean up, to withdraw money to remedy. For example, Wu Changshuo's "flowers hanging pearl dripping spring dew", painting the spring breeze dancing wisteria, wisteria in the picture is concentrated on the left side, the right side is almost blank, it seems too empty, feel very difficult to clean up. However, he utilized the inscription to link it up, "Flowers drooping with pearl dripping spring dew, leaves open with cuilan grouping spring wind, Wu Junqing, June, Guangxu Jiachen", with "Cangshi" seal in white, which made the picture full, and the upper and lower parts united into one, adding rich and variegated artistic effect.

2.3 Balance. If the picture is too flat, too dense, too chaotic, must be cleaned up, commonly used paragraph, seal to break; such as too risky, too loose, too loose, but also with the title of the seal to close the link, so that the picture has a broken and even, there is a release, increase the momentum and rhythm of the picture. For example, Pan Tianshou's "The Mountains and the River Are So Beautiful" is horizontally inscribed and inscribed in the middle of the painting, in the part of the distant mountains near the river, this method seems to be broken but is actually connected, which increases the sense of weight of the distant mountains and the sense of coordination of the river's smooth flow. It seems to be an integral part of the river, and also seems to be the reflection of the distant mountains, which makes the painting both changeable and unified. The inscription on the painting, is horizontal or straight, the position is by the side of the corner or in the center, the word how much, length, size, is a single paragraph or more paragraphs ...... These must be subordinate to the content of the work and the picture needs. It can also be said that the arrangement of the content of the picture determines the position and format of the inscription and Inscription. Therefore, the inscriptions of many works are often considered at the same time with the composition of the painting materials. This is especially true for pictures with few materials and many inscriptions. For example, in the painting "Scorched Ink Landscape", in the little sky part, the inscription reads, "A mountain monk inscribed his painting of scorched ink pine and rocks: This is also a picture of a sunny day in a fast snowfall. I occasionally make landscapes, the blank space between the trees seems to be accumulated Swire snow, can also be a mountain monks inscription of the words of the pine and stone inscription. However, the painting materials, mood is completely different. The original painting must be the same between the different, black and white to achieve, this intention of a mountain monks themselves already know. Dec. heat for this cool medicine, life and knowledge". This inscription not only points out the theme of the snow scene painted. Large inscription will fill all the sky, become a gray color, to achieve the general painting of the snow scene with light ink rendering effect, so that the work has more "like accumulating the mood of the ancient snow". The lower right corner of the bell there is a "strong bone" of the pressure angle seal, in the picture played a role in closing the block. Seal **** quadrilateral, red in the picture echo each other, played a refreshing role.

3 inscription and seal of the calligraphy and picture harmonization

Chinese calligraphy has its high degree of unique artistry. Zheng, Cursive, Clerical, Seal Script, a variety of variations of rich fonts, selectively and organically mentioned in the painting, so that the "painting and calligraphy together", more perfect. However, the writing style should be consistent with the brushwork pattern of the painting. Such as the Song Dynasty, Zhao Ji's work, Jin Nong's ancient, Zheng Banqiao's peculiar, Zhao Zhiqian's vertical, Wu Changshuo's bold, their calligraphy and their paintings are harmonized. Huang Shen's "Drunken Immortal Picture", the immortal lying beside the wine altar, drunk and sleeping, the character's line is unrestrained, splashing ink, the inscription is also inscribed with unrestrained cursive "Who said that Iron Crutch Immortal, the shape of the broken get long years. Where do I go with my shoes? I am drunk on the top of Mount Hua. Tasseled melon". The brushwork and painting style of the inscription are consistent and harmonious, showing the vivid drunkenness of the immortals and enhancing the mood of the painting.

Contemporary Chinese painting master Mr. Lu Yushun's landscape paintings also combine calligraphy, painting, and sealing in an extremely rounded and refined way, especially in the Tang poetic series, where the lines that make up the mountains and rivers are the gold and stone lines, the leakage lines, and the wild cursive lines extracted from calligraphy, and the lines that have been refined and used freely and smoothly in the picture enrich the picture's mood and add interest to the spirit. Mr. Lu Yushun's inscriptions also have a large number of characters, which are not only poems and calligraphy, but also an important component of the painting, through which he balances the relationship between the real and the imaginary, the light and the heavy, and combines them with the illusory, mysterious and aesthetic lines and ink traces in the paintings to express a rich poetic mood and flavor, making the works thick and rich. At the same time, the number of inscriptions on Lu Yushun's works is also extremely large. From the concept of establishing his own style, he pushes forward the new, integrates the great achievements of tradition, and is in harmony with the classical spirit, forming the beauty of his large number of inscriptions, which is very much in line with the traditional ancient style and flavor. This is complemented by the Han Jane Shu and Tang poems in landscape painting. Formed his own unique style of art. Due to the combination and penetration of calligraphy and painting, the painters have made organic connection in composition, line, color and ink, making the picture divided, interspersed and linked, enhancing the role of reality, sparseness, opening and closing, and illumination, making the picture richer. Reading a painting, as if listening to a symphony, a variety of painting materials, ink, calligraphy, seals, etc. composed of the melody of the movement, a thousand variations, each with its own charm.