As far as ink is concerned, Wang Duo's ink method was unique, the richest and the most changeable at that time. In fact, different dynasties have different preferences for ink, such as Jin people like to use light ink, Tang and Song people like to use thick ink and so on.
As can be seen from the original works of famous artists in past dynasties, Yan Zhenqing, Su Dongpo, Liu Yong, Kang Youwei and Sha Menghai are all examples of rich colors; Dong Qichang, Wang Wenzhi, Fu Shan and Lin Sanzhi are all masters of light ink. Wang Duo is a master in ink, with five colors: dry, wet, thick, light and dry.
Throughout the history of calligraphy, no calligrapher has mastered ink color so luxuriously and used ink as the language of calligraphy expression, which provided an unusual artistic conception for his works. Coupled with the rich changes of lines and knots, it creates a very strong visual impact, and Wang Duo's pioneering work is really expected.
Wang Duo's Mohism can be summarized into five "routines".
1, use thick ink.
Thick ink is the most common way to use ink, but thick ink should show a heavy feeling, "eat" into the paper, and the breath should be smooth. With thick ink, you will avoid death, stagnation and floating.
Death is bland, without light and spirit. Su Dongpo said that "it is better to grow a child's eyes", which is what he is talking about.
Stagnation means that the ink is bloated, without bones and muscles, without strength.
Floating means that the lines are light and weak, and there is no three-dimensional sense.
2, light ink should be natural
Dong Qichang is also an expert in using light ink, but Dong Qichang and Wang Duo have different creative methods in using light ink. Dong Qichang entered the book with Zen, and pursued a bland feeling, so he wrote with light ink instead of water. However, Wang Duo's creative thinking is different, and he is used to the way of "passing by". It is said that when Wang Duo writes, he must first dip in thick ink and then in clear water (or dip in clear water and then in ink) before he can start writing. He can write more than a dozen words in a row until the ink is dry and then dipped in ink, and there will be a "block face" with strong contrast between ink and light. Therefore, there should be changes in ink color in creation, and don't form the habit of writing one word at a time.
3, the ink should be beautiful
Adding ink is Wang Duo's creation, because before that, calligraphers paid attention to the blending of ink and wash, while Wang Duo was just the opposite. Adding ink to water or adding ink to water is a complete subversion of the use of ink. The ancients said that using ink, "moist with meat, dry with bones." Ink raising itself is an extreme of ink wetting, and the control of ink wetting needs to be very careful. If you write too fast, ink is not as good as paper, and if you write too slowly, it is easy to write "ink pig".
Generally speaking, the control of ink embellishment still has strong ability requirements for screenwriters. Relatively speaking, the speed is still a little faster. It is necessary to write the effect of pen and ink interpenetration, ink in pen and pen in ink, and the glyph should have a sense of fullness.
4. Dry ink is definitely dangerous.
Sun's book spectrum says: "Dry is thick and dry." In other words, dry ink generally shows a state of flying white, dry pen and thirsty pen. This ink color can add a spicy and happy brushwork to the work. However, the appearance of dry ink cannot be deliberate, and all the changes of ink color must be produced in natural writing, so as to show the artistic conception of dry and wet contrast.
Wang Duo also has a choice in using dry ink. It is a natural secret that cursive script is like the method of "writing one book at a time", from thick to dry and from moist to dry. Running script works are both virtual and real, not as exaggerated as cursive works.
Generally speaking, the rhythm of ink color change has a great relationship with the expression of natural feelings and the reaction of pen, ink and paper itself, which is completely revealed in free writing.
5, use ink to know white and keep black.
Ink is black, only white, and yin and yang are born together. When black and white are processed, we can grasp the overall composition. When asking Huang about the theory of using pen and ink, Mr. Huang said a very meaningful sentence:
The ancients emphasized the real place, especially the imaginary place; Heavy black places, especially heavy white places; The so-called knowing white and keeping black, counting white and black, is the minimum truth, you have to understand. Your calligraphy is more practical, less imaginary, more powerful in secret and less powerful in white.
Wang Duo's calligraphy itself is good at white cloth. In white cloth, the size, front, position, continuity and weight of words seem to be irregularly and harmoniously combined, and the change of ink alternately fluctuates. Looking at each line vertically, there are many things to see. Comparing each line horizontally can avoid similarities and take care of each other. The expressive ability of ink color makes the whole work live in harmony and unity.
▲ Wang Duo's Cao Shu Gao Shi, 70,000 Riding Songs, Yang Shi Vertical Axis was written in the 12th year of Chongzhen in Ming Dynasty (Ji Mao 1639).