Like calligraphy, the sketch of Chinese painting was conceived in China's ancient paintings and pattern works, and formed its own system in continuous development, and was influenced by China's ancient philosophy in their respective development and changes.
Rings have their own forms and complement each other. Mr. Li Kuchan once said, "Painting from books is the highest realm, and painting from books is the highest criterion". Regarding the relationship between calligraphy and painting, first of all, from the aspect of glyphs, in traditional Chinese characters, the word "Yu" is written on both the words "Shu" and "Hua", and the pronunciation of the word "Yu" is different in ancient times and now. Yan is called "Fu", Chu is called "Yu" and Qin is called "Pen" [2]. It means pen. From the writing of the word "",we can find that calligraphy and painting are the same in using tools. Traditional painting and calligraphy use brush, ink, paper, inkstone and other tools, plus traditional aesthetics, that is, the preference for pen and ink lines, which makes traditional painting and traditional calligraphy have the same effect.
Regarding the relationship between calligraphy and painting, the most famous one is the theory of "painting with books" put forward by Zhao Ziang in Yuan Dynasty. "White as a fly, bamboo should master eight methods. If someone can understand this, they know that calligraphy and painting are the same. " For the first time, the elements of calligraphy were directly and vividly moved to painting. This tendency to use calligraphy lines, that is, pen and ink, independently of painting has changed the concept of painting and embarked on a road of "winning more with less", "seeing the big with small" and "illuminating the infinite with limited holes" Calligraphy pays attention to the beauty of momentum, attitude and rhythm, which can be said to be a real abstract art. Sketching is an abstract means to make full use of calligraphy art. The image language of calligraphy, namely brushwork, is the language of line drawing modeling. Without the brushwork of calligraphy, it is difficult to say Chinese painting. In addition, the refinement of calligraphy affects China's paintings all the time. Calligraphers' feelings directly affect painters, and calligraphy theory is the basic textbook for painters to use pens. It can be seen that line drawing itself has a strong interest in calligraphy, and the lines of line drawing and Mo Yun reveal abstract beauty everywhere, which has independent aesthetic value. In other words, even if you leave the object, it is fascinating to enjoy every piece alone. As an important category of Chinese painting, line drawing has absorbed a lot of nutrition from calligraphy. Ancient painters in China summarized line drawing as "eighteen strokes", but there were only two ways of expression, namely, meticulous brushwork and freehand brushwork. Both fine brushwork lines and freehand brushwork lines are influenced by calligraphy, and this influence is most obvious in brushwork. The lines of meticulous brushwork are generally neat, and there are two main types. One is iron line drawing, such as hairspring and line drawing. This line brushwork is mainly based on parallel movement, which requires a round, straight and backbone pen, and a pen in the center, "like a cone painting sand"; Be simple and powerful, "like a stone falling from a mountain" and "like cutting something with an axe"; Penetration, to "hide strength in grace", this is exactly the requirement of seal script in calligraphy. Another kind of meticulous brushwork is orchid leaf painting, which mainly absorbs the requirements of writing in official script. This pen moves in parallel, which strengthens the up-and-down pressure lifting action. Compared with the iron line drawing pen, the center has ups and downs, emphasizing the return of the pen, forming the "silkworm head swallow tail" of the official script. The formation of official calligraphy pen is the vitality of Chinese painting lines, which enriches the expressive force of Chinese painting pens, such as orchid leaf painting and war pen water pattern painting. Freehand brushwork uses lines, which are wider and more concise, and the form of lines is more abstract, paying more attention to "iconicity rather than iconicity, and taking the spirit from the image"; The brushwork is coherent, the momentum is smooth, and more attention is paid to the aesthetic feeling of form, such as dead wood painting and reduced strokes.
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