Bao Shichen said: "Calligraphy and calligraphy are based on the pen and formed on the ink, so the ink method is a key to the art of calligraphy." ("Yizhou Shuangyi" Calligraphy is a visual art, in addition to In addition to the changes in lines, we also pay attention to color. The contrast of the two primary colors of black and white has a kind of color beauty. People are accustomed to say that "ink is divided into five colors", namely thick, light, dry, moist and wet. In fact, there are far more than these five. The change of ink color can not only enhance the formal beauty of calligraphy art, but also provide a kind of ink interest. Su Shi liked thick ink. Ying Qichang said that at the end of each wave of his ink marks, there are faint traces of accumulated ink, like millet beads. , Hate cannot be heard by stone carvings." (_"Essays on Painting Zen Rooms") Liu Yong also likes thick ink, so he is known as the "Prime Minister with thick ink". Wang Wenzhi likes to talk about ink, so he is known as "Exploring Flowers with Light Ink". The choice of the shade of ink is a calligrapher's personal habit. Generally speaking, the ink method should be a combination of light and dark, and use both dry and wet ink, so as to create colorful ink effects. In fact, the choice of ink method is closely related to the style of calligraphy used in creation. Mi, "When writing regular script, the ink should be dry, but not too dry. When writing cursive, dryness and moistness are mixed, moistening is used to obtain beauty, and dryness is used to avoid danger. If the ink is thick, the writing will be stagnant, and if it is dry, the writing will be dry. This cannot be ignored" (Jiang Jiang) Kui's "Xu Shu Pu"). "Use moistness to obtain beauty" and "use dryness to obtain danger", which also explains the influence of ink method on the shape, quality and charm of characters. Generally speaking, the dryness, dryness and density of ink determine the style of characters. The steepness of the ink has a masculine beauty; while the wetness, lightness and moistness of the ink determine the beauty of the calligraphy, which has a feminine beauty. "Thick ink will make it lively, light will make it gorgeous." The nearness is thin" (Zhou Xinglian's "Linchi Guanjian"). It can be seen that calligraphy can only be mastered through long-term and continuous calligraphy practice. Of course, calligraphy is also inseparable from personal aesthetic tastes, habits, etc., and cannot be generalized.