Appreciation of ancient poetry and calligraphy works
Pictures of ancient poems and calligraphy works 1
Pictures of ancient poetry and calligraphy works 2
Pictures of ancient poetry and calligraphy works 3
Ancient poetry calligraphy works Figure 4
An analysis of calligraphy ink
Using ink is an important part of calligraphy techniques, which has always been valued by calligraphers. The package of the Qing Dynasty is in "Art Boat Double? Under the book, the cloud:? Calligraphy and painting are based on pen and ink, and ink is a key to calligraphy. ? Dong Qichang said? The ingenuity of writing lies in the use of pens, especially ink. ? Therefore, calligraphers of all ages attached great importance to the application and research of ink as a calligraphy technique.
Calligraphy ink mainly includes four methods: thick, light, dry and moist.
Did the ancients have thick ink? All the ink is black, especially as thick as paint? In short, this means not only black, but also bright in black. Creating with thick ink gives people a sense of strength, which is suitable for the creation of seal script, official script, official script and running script. Su Dongpo made good use of thick ink in his books in the Song Dynasty, and the layman Dongpo called it ink? It is as bright as a child's eyes. , reading traces, thick and rich pen and ink, thick charm, strength through the back of the paper. When using thick ink, be careful that the ink does not stagnate, and the pen must sink into the paper and not float on it.
Thick ink, deep and ethereal color, radiant. In addition, the bright ink color makes the book look dazzling, so writing a book with thick ink can better show the inner tolerance of vigorous and upright. When it is necessary to express a severe, passionate and high-pitched emotion, writing a book with thick ink can promote the expression of this artistic conception. See Su Dongpo, Yan Zhenqing, Kang Youwei and other calligraphers' calligraphy ink, mostly heavy ink, which is more ethereal.
Writing a book with light ink gives people a feeling of elegance, agility, ethereal clarity, but light ink should not be too light, otherwise it is easy to hurt people if you don't master it well. Generally applied to the creation of cursive script and running script, but not to seal script, official script and official script. Dong Qichang was the most adept at using light ink in Ming Dynasty. Master of light ink? . He said to himself:? Use ink to make it moist, not boring, especially avoid thick fat, which is a great evil. ? Dong Qichang's brushwork is ethereal, the composition is sparse, and the pen and ink are light, creating a lofty artistic conception of elegance, ethereal and quiet, giving people a sense of fireworks that will never die; There are three ways to use light ink: one is to dilute the thick ink with clear water before using it; Second, dip the pen in a little thick ink first, then dip it in water and then start writing; Third, after the pen belly is filled with water, dip the pen tip in a little thick ink. When you want to express the artistic conception of Qing and Jing Ya, you might as well try light ink, which may have a different taste.
Dry ink flying white, dry pen and thirsty pen are three common brushstrokes (forms) when writers create with dry ink, which can better reflect the calm and happy momentum and Gu Zhuo's old-fashioned brushwork. Flying white, white handwriting. According to legend, Cai Yong, a calligrapher in the Han Dynasty, was inspired when he saw people brushing walls with brooms, so he got the message and used it in calligraphy creation. Bai Fei's book? Empress Wu Zetian in the Tang Dynasty likes to write flying white books, and her autographed "Monument to the Immortal Prince" is now in Haiyan Museum, Zhejiang Province. Dry pen, used to direct the pen to wipe the paper quickly, and the strokes are feathered rather than straight. Mi Fei, a calligrapher in Song Dynasty, made good use of this method. Thirst pen refers to dry and powerful ink formed by rubbing with fast and powerful strokes on paper. Are there any music scores of Sun in the books of Tang Dynasty? Dry it, will it be thick? Refers to the use of dry ink, brush wet, dry moist, dry solid, so-called? Dry autumn wind? .
Moistening ink refers to the slight infiltration of wet ink color from stippling. Why did the ancients describe this fascinating ink method? Running with the spring rain? . Because of the moisture of ink, the ink fountain pen should be agile and not stagnant, so that stippling can have a full and complete charm in the infiltration of ink color. Wang Duo, a calligrapher in the Ming Dynasty, liked to use runmo, and created a unique? Ascending ink method? . Moistening ink is suitable for expressing the artistic conception of softness outside and rigidity inside.
In fact, the use of thick ink, light ink, dry ink and moist ink has a great relationship with the font of the book, the texture of the rice paper used and the hardness of the brush. Song Jiangkui's Continued Books and Music Score? Ink cloud:? Writing a model will feel dry, but it should not be too dry. When the grass is dry, it is good to moisten it, and it is risky to dry it. It is not known that thick ink leads to sluggish pen and dry ink leads to dry pen. ? Cooked rice paper is hard, so it should be written with a soft brush. The ink can be a little thick and the water can be a little dry, so that it can rotate and the natural pen and ink can be used properly. In addition, the flexible use of Mohism is also determined by personal hobbies and habits. In Qing Dynasty, Liu Yong liked to use thick ink, while Wang Wenzhi made good use of light ink. They are respectively known as? Prime minister thick ink? 、? Looking for flowers in light ink? . Ink can perfectly unify the changes of shade and dryness, right? Dry it, will it be thick? (Sun's book soundtrack) is a master of ink painting.
The change of using ink depends on the skill of using ink on the one hand and the skill of using pen on the other. Because of the different rhythm of pen use, ink cloud can change from light to dry, from light to thick, from slow to moist, and from pathological changes to dryness. On the other hand, brushwork also affects brushwork, for example, when the pen and ink are full, it is faster to carry the pen, and when the pen and ink are less, it is slower to carry the pen. The change of rhythm is expressed through ink color, and the vitality is vividly on the paper. The change of ink color must be natural, and it is forbidden to dip a word in ink once, otherwise there will be no Mo Yun change. The whole work should pay attention to the relationship between up and down, and show the natural change of ink color through comparison.
To change the use of ink, we should also pay attention to the method of dipping ink. Generally, dipping in ink is not allowed. Deep dipping is not only weak, but also difficult to change the ink color flexibly. Therefore, dipping ink should be like a dragonfly's water, and it will get up as soon as it is dipped, and it should be thorough and moist. In Qing Dynasty, Jiang Ji said in "On Calligraphy Continuation":? When writing a book, you must open your pen and click into the inkstone. Such as water, so that the ink enters from the nib and the pen is full of ink. Under the shaking, the ink flows out from the nib, the ink overflows and the pen condenses. ?
The change of ink color in works depends on the application of ink painting techniques. Chen Yizeng's Hanlin Yao Jue points out: Chinese characters are born in ink, and ink is born in water. The word blood of water is also. ? Say it again: If the water is too dirty, the meat will be scattered; if it is too dry, the meat will be dry; If the ink is too thick, the meat will stagnate; if it is too light, the meat will be thin. ? Using ink is like the relationship between qi and blood. Blood is driven by qi, and qi is born of blood. Pneumatic blood is smooth and healthy. In the final analysis, calligraphers' successful use and grasp of ink and wash techniques are actually right? Water? Direct control, if the calligrapher has strong water control ability, and can skillfully master and properly use ink painting skills, it will definitely make ink painting harmonious, bone and flesh uniform, blood coherent and Shen Feng scattered.
Careful use of ink, so that the pen does not jump, so that the ink is not empty, so that your work is unique, it takes long-term practice and skilled techniques.