My personal experience is as follows:
Hardness is yang, softness is yin: (The branches of the old tree are wildly spread, and the winding water gauze is delicate and comfortable.)
Movement is yang, tranquility is yin: (The spring flows, the waterfall releases, the wind rises, the sails and drums are walking, the clothes are fluttering, the water stagnates, the waves condense in the pool, the smoke is straight, the gun falls, and the curtain hangs.)
Big is yang, small is yang. It is yin: (big mountains, big water, big realm, small flowers, grass and small thoughts.)
Near is yang, far is yin: (mountains are pounding, water is thundering, rain is coming, mountains and water are misty, clouds are misty.)
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Dense is yang, light is yin: (The thick ink is a dragon wandering around and walking, the light ink is flying slowly in the smoke.)
Tight is yang, light is yin: (The autumn wind sweeps the leaves step by step Tight, the spring rain moistens the flowers and relaxes them.)
Fast is yang, slow is yin: (The rock is drilled quickly and white appears, and the yarn is soft and slow. The ink spreads.)
In fact, it is yang. Yang, emptiness is yin: (The territory is expanded and the soil is filled with ink, and the mind is left blank.)
The great emptiness is yang, the great reality is yin: (the great white is like the reality, and the great black is like Nothing and nothingness overcome each other.)
The yang is in the painting, and the yin is outside the painting: (Look at the painting and move in the middle of the painting, and the mind wanders beyond the painting to have endless ideas.)
The conception and meaning of a calligraphy and painting work Creation is like a fisherman casting a net into the water.
It is not that the farther the fishing net is cast, the better, but the fishing net must be under one's control, and the purpose of casting it out is to recover it in the end.
If you spread your fishing net too wide, you will be caught in the fishing net, and you will be trapped in the net and unable to free yourself.
If the fishing net is cast too far and even the rope controlling the fishing net is taken off, the purpose of casting the net will be lost and nothing will be caught.
Specifically speaking, the author of each work depends on his own cultivation, cultivation, and background...
In the final analysis, those calligraphy and paintings are not presented on rice paper. ....If there is anything in the heart, it is yang; if there is nothing in the heart, it is yin.
Only when you have the hills and valleys in your mind and a well-thought-out plan in mind can you use a drop of water to show part of the artistic conception of rivers, lakes and seas.
You have the realm in your heart, but you have to be restrained, be open-minded and open to all rivers.
Strong ink needs water to moisten it before it can be used freely;
Weak water needs ink to be enriched so that it does not come and go in vain.
Understand and master the techniques of traditional calligraphy and painting, as well as the artistic conception inside and outside the painting.
Use forms of expression such as connection of strokes, connection of ideas, and echo; blank space, flying white space, and relaxation to complete the opposition and unity of yin and yang, virtuality and reality in calligraphy and painting.
Personal opinions, welcome criticism and correction.
Example: Liu Bingsen’s light ink calligraphy - such as "meaning" - the meaning is outside the paper, it is a kind of artistic conception.