Calligraphy and brushwork of Chinese painting
Zhao Mengfu, a calligrapher in the Yuan Dynasty, said, "Calligraphy is based on writing with a pen, and you need to work hard to write. It is not easy to write with a pen through the ages. " Kang Youwei also said in Qing Dynasty: "The beauty of calligraphy lies in the brushwork." It can be seen that brushwork is the basis of calligraphy. ?
Zhang Yanyuan once said in the Tang Dynasty: "The image of a husband should be tangible and have a backbone. The shape of the spine depends entirely on the will and the pen. " It emphasizes the relationship between brushwork and intentional modeling. Conception needs modeling, modeling needs a pen, and brushwork is also the basis of Chinese painting. ?
So, what is brushwork? As the name implies, brushwork is the key technology of writing or speaking. The brushwork includes writing, writing and receiving. It is required to make full use of the soft and elastic function of the brush to make the brush tip perfect from beginning to end, with smooth momentum and rich brushwork, so that the brush can run freely in the case of crossing, illness, astringency, light and heavy. This is the brushwork. ?
Therefore, whether to understand and master the method of using a pen is the most important thing in calligraphy and Chinese painting. It not only directly affects whether you can enter the door of calligraphy and Chinese painting, but also directly affects your artistic achievements in calligraphy and Chinese painting in the future. To do this, we need not only repeated practice for a certain period (even a long period), but also diligent thinking and analysis of Feng Yun's specific performance in the process of spreading fine wool, that is, the forms produced by stippling lines under different brushwork, and find out some artistic rules from it. In the whole art system of calligraphy and Chinese painting, brushwork is very important and complicated. Calligraphy and Chinese painting belong to our unique traditional art. Calligraphy and Chinese painting artists at all times and all over the world attach great importance to brushwork and have solid kung fu and superb brushwork level. ?
The brushwork of calligraphy can be summarized as center, oblique, hidden front, exposed front, reverse front, sliding front, Fang Bi, round pen, stroke direction, brushwork and so on. ?
The center is in the center of the pen. When writing a book, the front end of the pen should be kept in the middle of the strokes, so that the stippling can be complete and vigorous. This is because when the pen is transported in the middle of stippling, the ink seeps evenly from both sides along the pen tip and reaches around, so stippling does not have the shortcomings of being light on the top and heavy on the bottom or light on the left and heavy on the right. Such lines are rich, round and full of three-dimensional characteristics. The technique of centering is the most basic brushwork. ?
Oblique front, also known as lateral front, means that when using a pen, the pen tilts to one side and the center tilts to the stroke side, so the stippling written is light and hairy, thick and dry, and often zigzag. ?
Hidden front, specifically, is to hide the head and protect the tail. That is, the pen tip is hidden in the middle of stippling and not directly exposed. Hide your head, that is, when you start writing, you should "go down horizontally, go down horizontally" and "if you want to be right, you should be left first, if you want to be left, you should be right first". Tail protection means "don't go anywhere, don't sag or shrink", and finally protect the nib. Zang Feng's brushwork gives people a feeling of implicative, heavy and dignified. Hiding the head is to put the pen tip on the paper and hide it in front. Tail protection is to retract the nib. ?
Expose the front, also known as the front, that is, don't collect or hide, which is often used at the end of a stroke, and refers to the action of collecting the pen with the front of the pen exposed outside. When the main pen uses the hidden front, the auxiliary pen can use the exposed front. The Tibetan front shows pen power, and the front should be vigorous and vigorous. ?
The reverse front means that the pen tip runs in the opposite direction, and the hidden front is written with the reverse front. This method hides the traces of brush strokes in it, making the brush strokes delicate and full, and preparing for the brush strokes after writing. When Feng Lu started writing, he walked along the front of the pen without looking back, or the end of the pen did not look back, but went straight, indicating that SF had a sense of elegance and fluency. But don't expose the front for too long, it will produce the feeling of light oil, so pay attention to the discretion. In a sense, forward striker and backward striker are the concrete manifestations of exposed striker and hidden striker. ?
Fang Bi and round pen are two different forms of strokes. Generally speaking, Fang Bi is angular, and a round pen is not angular. Fang Bi used the method of "bending the pen" to form edges and corners at the beginning and end of stippling lines, that is, "folding into a square", giving people a feeling of being vigorous, straight and rigorous. The round pen uses the method of "lifting the pen to turn round" to form a rounded trend at the beginning and end of the dotted line, which makes it not show bones and muscles, and contains powerful power, that is, "turning round". Understand that Fang Bi and the round pen are different pen forms. Fang Bi and round pen are the basic forms of calligraphy lines. ?
The direction of the pen is closely related to the five-finger grip, and the pressure, hook, grid and touch in the grip control the left and right, left and right, vertical and horizontal movements and the final advance and retreat movements. The front of the pen is vertical, which means that the front of the pen is vertical to the paper, and all pen lifting, squatting and squatting are vertical movements. The lateral movement of the pen is a variety of lateral strokes, which are characterized by grasping, moving, frustrating, grasping, turning and twisting. Generally speaking, the vertical movement of the pen refers to lifting, and attention should be paid to the appropriate weight when lifting; The lateral movement of the pen refers to stretching, and attention should be paid to the thickness change during stretching. ?
Pick up the pen, the pen tip should not be the same thickness when writing stippling, and pick up the pen when stippling requires thinning. Therefore, raising rice is relative and interdependent. Pen lifting is mostly used in the middle of horizontal painting, at the turning point of words, when the front is exposed. ?
When the pen and line stippling requirements become thicker and more prominent, press hard. The so-called "those who are able to penetrate the back of the paper are dumbfounded." Pen is often used at the closing or turning point of characters, which is stronger than "squatting pen" and "waiting pen"?
The method of squatting and lifting a pen is like a pen, but the pressure can be lighter. There is a transition between the lightness and fineness of stippling, that is, squatting pen, squatting pen and squatting pen are commonly used in stroke transition. Therefore, it plays the role of adjusting pen change. ?
On the pen, the pen power is less than "Dun" and "Squat". For a short transition gap between the end of the last pen movement and the beginning of the next pen movement, that is, "pause", a force can be applied to the paper. This is to prepare for the next stroke. For example, you should pause before starting and closing the pen, pause the pen before pausing, and then press it. Others, such as before you stop writing at the turning point, before you stop writing, you should keep your pen and be momentum-oriented. ?
Pen suction means that when you carry a pen, it will move up and down. When writing a tick, the pen that fell behind the pen suddenly turned upside down, which is this pen. Because the pen goes against the trend, it increases the friction between the pen tip and the paper surface, enriches and strengthens the pen force, and makes the stippling lines more vigorous. ?
A frustrated pen is a gesture that suddenly stops when you change direction with a pen. Mostly at the corner, stop the pen first, then lift the pen slightly to make the nib rotate, thus changing the direction. It can be seen that the frustration of the pen refers to the slight position movement of the pen after pressing, which makes the brushwork more perfect to make up for the shortcomings in the pressing process. ?
Grabbing a pen refers to the action of writing in the air first, or the action of pulling back in the air when writing. Grabbing a pen is similar to folding, but the folding speed is slow, while grasping a pen is a quick instantaneous action. ?
Turning a pen has two meanings. First, round pens are used more than "folding pens". That is, when writing and raising a pen, it is a continuous line when turning left and right, and when stippling, it pauses a little, and it seems inseparable when connected. ?
Folding the pen is a common method used by Fang Bi to "turn the pen". When folding the pen, the pen tip turns from the positive side to the negative side, that is, "Fang Bi flips", thus showing the square edges and corners, and bringing out the square trend with the pen folding action. The speed of folding the pen is faster than that of turning it, so as to form a vigorous and powerful situation. ?
The brushwork of Chinese painting is similar to calligraphy, so I won't go into details here. The pen used in traditional Chinese painting is mainly line. ?
Line is the most basic modeling method of Chinese painting. In the shaping of the body, the midline is by no means a simple description of the outline. While grasping and defining the image of the object, it can also show the texture, sense of quantity and movement of the object. ?
In traditional Chinese painting, the relationship between line and shape is mainly reflected in the communication between the author and the line itself. "I also use pen and ink to write everything in the world." Shi believes that the freehand brushwork and lyricism of line pen and ink are due to the various changes of China painters' brushwork, which makes lines have an ever-changing posture and fresh vitality. First, colorful line forms can arouse viewers' imagination and association of the formal beauty of similar objects in various images in real life, making abstract lines a tortuous and indirect response to the formal beauty of real things, thus causing people's different feelings and * * *. Moreover, the infusion of personal thoughts, feelings, emotions and interests in the process of Chinese painting makes the lines in Chinese painting have distinct personality characteristics, achieving freehand brushwork, lyricism and fluency, and then expressing people's aesthetic soul, personality, temperament and ideals. The ancients said, "Books are like people, and paintings are like people." ?
It can be seen that in the process of shaping the body, the lines in the pen of traditional Chinese painting can not only achieve the purpose of objects, but also reveal the characteristics and modality of various objects by artistic means. The use of lines reflects the ability of China painters to generalize, refine and understand objective images, and their great creativity in controlling objects. ?
"The shape of the backbone depends on the meaning and belongs to the pen", which means that the pen is the "root" and the "root" is the commander in chief. "Yi" contains very complex cultural connotations and is a complex reflection of the subjective world, that is, various temperament, ideal cultivation, feelings and so on. "Meaning" is subjective, but it is not purely subjective fiction. It is through the use of lines that China painters realize this "lyrical freehand brushwork". Therefore, in the Qing Dynasty, Bu Yantu believed that "meaning means great use ... meaning but not writing, not writing but not writing, it is better ... so those who learn must think before they act, meaning pen body, and pen meaning means meaning use". ?
The "meaning" of people's subjective world activities itself cannot be directly "written". The main point of making a pen with intention is to make a pen with qi and attract god with intention. The so-called "meaning is qi" and "qi is strength". "Intention before writing" means that the idea has been formed before writing. Once a pen is written on paper, it is intentionally in the pen, which has actually become a subconscious activity. What works at this time is the qi produced by intention. Driven by Qi, "the heart is in the pen, the hand is forgotten in the book, and the heart and hand love each other" will also reach the realm of "leaving no hands, not concentrating, not knowing why". ?
It is under this modality that calligraphers and China painters often seize the creative inspiration that comes and goes, grasp their ever-changing emotions, keep the freshness and continuity of creative impulse, and lose no time in one go. In the Qing Dynasty, Buyantu also said that "those who have more lean bones are called qi." Things are dead, so are pens. Things are breathing living things, lifeless dead things; A pen is a living pen with breath, but a dead pen without breath. The mountains are lush, the trees are lush, and the gas makes it. " ?
Writing requires the author to concentrate all his energy on the pen end, and writing can naturally produce strength, which is the "pen power" because the temperament, thought, emotion and self-restraint that constitute the author's "intention" are different, and the qi that runs through the pen end will be different. The use of qi makes the "qi" of the pen unique, and it also causes the variability, complexity and diversity of the "pen power" of the pen. For example, some lines and shows are quite straightforward. Zhao's pen is like "needle wrapped in cotton", while Wu Changshuo's pen is simple and muddy, and he is more famous for "being the wind in the Wu Dynasty" and "a grass comes out of water". ?
Calligraphers and painters in China pay attention to the preservation of pens and the use of air to make pens, creating a variety of strokes with different flavors. The change of brushwork is reflected by the change of brushwork, and the diversity of human life and nature provides the creative source of brushwork. For example, Wang Xizhi realized the elastic change of brushwork from the rotation of goose neck, Zhang Xu realized the brushwork of weeds from watching Gong Sundaniang's sword dance, and Su Shi and Huang Tingjian realized the mystery of brushwork from rowing against the current and boatman rowing respectively. ?
Calligraphers and painters in China, when they are lucky, their pens are pneumatic, long and proud. Its talents are naturally overflowing intentionally or unintentionally. In the Qing Dynasty, the king said, "God meets heart, and heart meets qi. If you can't do it, you can't stop; I have no intention of seeking work and meaning, but work is strange and transcends pen and ink. " In the process of writing and drawing, it is often said that we should get rid of all distractions, concentrate and keep our body and mind relaxed naturally, that is, we should make the pen end of life smooth so that we can see the power. ?
In a word, the achievements of calligraphy and Chinese painting can not be separated from brushwork, and the formation of personal style characteristics of calligraphers and China painters can not be separated from brushwork.