Wet dyeing is applied to calligraphy creation. After the writer has a strong writing skill, he can well drive the wet dyeing of ink, and then use the four-stream characteristic of ink falling into paper to turn the ink into inward penetration. In this way, the ink left on the surface of the paper penetrates into the inside of the paper. When the writer practices skillful writing skills, wet dyeing makes the written font full and elastic. After the work is mounted, the ink line will present a round and three-dimensional vision. Because of the unique wet dyeing of health promotion, writing becomes more and more difficult. Therefore, calligraphy practice, as a practical behavior to improve one's life accomplishment, needs long-term practice to achieve the expected purpose, and can exercise the inner self-restraint, patience and character of the writer.
2. "It's too cloudy after adding water and too dry after writing", because you haven't fully "tasted" and "mastered" your own writing "ink interest", and you haven't mastered the skills of when to use thick ink and when to use light ink.
Ink color can be divided into dry and wet shades, and calligraphers have their own hobbies. The preference for ink color is called "ink interest". The use of ink directly affects the appearance of the work. Bao said in "Art Boat and Double Boat": "Calligraphy, inch pen, is made of ink, then ink is a key to calligraphy." With the rise of literati painting in Ming dynasty, the brushwork of calligraphy was integrated into Chinese painting, which added brushwork and ink interest to Chinese painting works.
Thick ink is the most important ink method. The ink color is thick and black, and the pen power is solid and heavy when writing, and the ink does not float, which has the effect of dignified and calm. Most ancient calligraphers like to use thick ink, and ancient calligraphers Yan Zhenqing and Su Shi like to use thick ink. Su Dongpo's requirements for ink are: "light but not floating, Zhan Ran is like a child's eye", and he thinks that ink is light but not black, which loses its function; Black is not only "boring and unpretentious". In the Qing Dynasty, Liu Yong used thick ink, which was called "Prime Minister of Thick Ink". When writing in thick ink, the characters are particularly energetic and easy to cause warm and rich artistic effects. The use of Jiao Mo will arouse vigorous and simple interest in ink.
But some people like to use light ink, such as Mi Fei in Song Dynasty and Dong Qichang in Ming Dynasty. Writing in light ink is quiet and indifferent, which gives people a beautiful and elegant aesthetic feeling and has its unique ink interest. Dong Qichang makes good use of light ink, and calligraphy pursues the artistic conception of mistress. Judging from the whole work, it is rich in shades, ethereal and transparent, quiet and elegant. "Essays on Painting Zen Rooms" said: "It is a great evil to use ink to make it jump, not boring, especially to avoid thick fat." In Qing Dynasty, Laure Shang was known as "exploring flowers with light ink", and his works were sparse and beautiful.
Thick ink and light ink have their own charm, and the key is to master it. Using too light ink will hurt the spirit; Too thick is just not good. As Zhou Xinglian said in the Qing Dynasty: "The method of using ink, strong desire for its gas, light desire for its China, live in China, not ink wide." If you don't use ink well, it's easy to dry when it's thick, and it's nearly thin when it's light. In a few years, they will die. "
Moistening ink refers to the phenomenon that too much ink on rice paper overflows beyond strokes. Rising ink is not valid in the orthodox concept of "ink can't come out". However, the beauty of rising ink is that it not only maintains the basic form of strokes, but also has a hazy ink interest, blending lines and faces. Wang Duo used ink to enlarge the expression level of lines. In his works, dry, light, thick and wet are combined, and the ink color is rich, which sweeps away the boring ink method of predecessors and forms a strong visual artistic effect.
Thirst pen and dry pen refer to the effect of writing on paper after the ink contained in the pen is lost or most of the ink is lost. The thirsty pen sees moisture in the pallor; Look at the old with a dry pen. When using thirsty pen and dry pen in writing, we should properly control the amount of ink used. Mi Fei's Note of Su Jing in Song Dynasty "I wanted to send it tomorrow, the moon will be bright, and it will be sent to my ears tonight;" A few words, with thirsty pen, dry pen performance, astringent pen lines, pale and vigorous.
Calligraphy is rich in skills of pen and ink expression, and water is the key to express all kinds of pen and ink methods. "Painting World" said: "Mohist school uses water, taking ink as shape, water as gas, pneumatic and vivid. It is reasonable to occupy ink and wash paintings. " In addition, the skill of using ink is closely related to the weight of brushwork and the quality of paper. The change of ink color in calligraphy works will enhance the rhythm of the works. Of course, the use of ink painting is natural, and we must not blindly pursue a certain ink painting effect and fall into a vulgar realm.
After learning the experience of various ink writing methods in ancient China, and having a certain basic skill of calligraphy, you can make various attempts according to your own artistic taste, without emphasizing uniformity. But for beginners, from the perspective of practicing basic skills, to see the effect of copying, a certain concentration of ink is needed. Generally speaking, with a hard brush, the ink can be thicker, and with a soft brush, the ink can be lighter; Regular script can be thicker, and cursive script can be lighter. The ink can be thicker when writing big characters and lighter when writing small characters.