Inscriptions and seals are unique arts formed by the development of Chinese painting. Inscriptions and postscripts are also called inscriptions, inscriptions, and signatures. According to literature, there are different names for inscriptions, such as "inscriptions, engravings, identifications, and inscriptions." "Record", "The style is concave as Yin, and the word recognition is convex", "The style is outside, the knowledge is inside", etc., which were formed after a long period of historical accumulation. From the inspection of cultural relics, the inscriptions on stone carvings in the Han Dynasty are relatively early. There are inscriptions on the paintings, such as the praise of the portrait stone in Wuliang Temple, and the stone inscriptions in the Wei, Jin, Southern and Northern Dynasties. After the Tang and Song dynasties, flower-and-bird paintings became popular, and poetry became popular, influencing each other. Some painters incorporated poems into their paintings as titles of paintings, which could also be used to interpret meanings. Shen Hao of the Ming Dynasty concluded in his "Hua Chen": "The title and the painting are footnotes to each other."
According to Zhang Yanyuan's "Records of Famous Paintings of the Past Dynasties", the use of seals on paintings began with Emperor Yuan of Liang in the Southern Dynasty. In the Song Dynasty, the Qing Dynasty Lu Shihua's "Calligraphy and Painting Shuo Qian" stated that "Song people did not need to print the names of their books, and they did not use seals to print the names of their books." Due to the rise of literati painting in the Yuan Dynasty, poems, calligraphy and seals were gradually used in paintings. For example, Su Dongpo liked long postscripts and inscribed them in regular script; Zhao Mengfu almost every painting had to inscribe poems and books. After the Ming and Qing Dynasties, almost all paintings by painters were without titles. They were long and lengthy, with titles and postscripts, poems or essays. Some paintings were even mainly composed of inscriptions and postscripts, with seals on the paintings. In addition to one or two name seals, there were also useful introductions. , Pressed corners are often used for printing, which is used to express aspirations, express feelings, or serve as an auxiliary means for layout.
1 Inscriptions, postscripts and seals fully express the meaning of the painting and the organic composition of the painting.
Inscriptions, postscripts and seals are needed for the content of the painting, which can more fully express the meaning of the painting and satisfy the viewer's artistic needs. Appreciate the request. Therefore, Wang Wei of the Tang Dynasty put forward the theory that "there are paintings in poems and poems in paintings". The content may point out the theme, or hint at the meaning of the painting, or express the artist's feelings about a certain painting material, or explain his own artistic opinions. The Painting of Plum Blossoms by Wang Mian, a painter of the Yuan Dynasty, depicts a horizontally folded plum blossom with a long stretched branch, fresh and vigorous. The plum blossoms are lightly dyed with light ink. The petals are light and the stamens are thick, refreshing and full of vitality. The picture is inscribed with a poem: " The trees at the head of the pond where I wash inkstones are all blooming. Don’t let anyone praise the color, just leave a message that fills the world.” Through the title, the poem and painting complement each other, conveying the meaning contained in the painting, and distinguishing the author from others. The state of secular complicity is expressed. If the picture requires it, you can have multiple questions, or question them again and again, without making them appear cumbersome. Instead, you can make the picture richer and open up a new realm and new pattern. For example, in Wang Fu's "Ink Bamboo Picture", there are many inscriptions in the picture, interspersed among the bamboo forests. The calligraphy styles are also different, and the characters are of different sizes, but they are not redundant at all. In this simple and fresh painting environment.
2 The inscription and seal can make the picture richer and more perfect
The inscription and seal play a great role in the composition of the picture. The inscription and seal are different in the picture. The processing, such as the height of the position, the number of words, the length and width of the style, etc., should be carefully arranged. The size and density of characters should also be carefully considered. The title is precise and appropriate, making the title and seal become indispensable elements of the picture. It truly reaches the point where if one character is discarded, it will be too short, if one character is added, it will be too long, and it is just right.
2.1 Corner processing. Pan Tianshou said in "Tingtian Pavilion Essays on Painting": "When arranging paintings, we must pay attention to the arrangement within the painting. Particular attention must be paid to the four sides and corners of the painting, so that they can be related to the painting materials outside the painting and continue the momentum. The interest can be found outside the painting." In his work "Little Dragon Qiu's Corner", all four sides of the painting have the feeling of extending outside the painting. Although the painting materials are small, they are very powerful. But in order to form a complete work by putting it in and closing it out, he placed the inscription in the upper left corner of the painting, and stamped the seal "Cage is down" in the lower right corner of the painting, so that the two corners of the different blank spaces in the four corners are filled and closed. The hair is loose at all four corners, leaving only the upper right and lower left corners slightly empty, making the stream flow smoothly and the momentum more comfortable. The painting "Spring Beauty" has two inscriptions. The one in the middle of the painting is in the gap between the branches of peach willows. The inscription is: "There are many green peaches in the West Lake, which contrast with the central court, especially the rich beauty." It plays a role in connecting the upper and lower parts. .
The other place is in the middle and lower part of the right side, and is inscribed with the words "Those who live long at the peak of Lei Po Tou are also inscribed". Both places play a role in restraining the painting and preventing it from loosening up. The seal uses five directions, and the name seal under the title and the corner seal in the lower right corner have the effect of increasing momentum.
Especially the introductory chapter on the top of the title and the "Shou" seal next to the word "You" on the lower right side. The position of the seal can be said to be well-intentioned and appropriate. There is indeed something unique about it.
2.2 Black and white management. Leaving blank spaces on the canvas is a common concern for Chinese painters. Because blank space is an important factor in the formal beauty of the picture and a necessary condition for the momentum and charm of the picture. That is to say, "when considering white, consider black". White is virtual and black is real. To cover black, it is even more important to cover white. White places are more difficult to deal with than black places. Once you draw black in the blank space, it cannot be modified, and it may be too solid and rigid. If you leave too much blank, it may feel empty or lacking in vitality. Sometimes after the screen is blank, it feels difficult to clean up, so I can make up for it by withdrawing money. For example, Wu Changshuo's "Flowers Hanging with Pearls Dropping Spring Dew" depicts wisteria dancing in the spring breeze. The wisteria in the picture is concentrated on the left side, and the right side is almost blank, which looks too empty and makes it difficult to clean up. But he used the title to connect it, "Flowers hanging with pearls dripping with spring dew, leaves blooming with green orchids in the spring breeze, Wu Junqing in June of the first year of Guangxu", and the white seal of "Cangshi" under the seal enriched the picture, unified the upper and lower parts, and added richness Changeable artistic effects.
2.3 Balance of retraction and release. If the picture is too flat, too dense, or too messy, it must be tidied up by using inscriptions and seals to remove the breakage; if it is too flat, too loose, or too scattered, it must be closed and connected with inscriptions and seals to make the picture broken and connected, closed and released. , to increase the momentum and rhythm of the picture. For example, in Pan Tianshou's "So Many Beautiful Lands and Mountains", the horizontal title and seal are placed in the middle of the painting, with the distant mountains and the riverside. This method seems to break the solid connection and increases the sense of weight of the distant mountains and the coordination of the current of the river. It seems to be an integral part of the river and the reflection of distant mountains, making the painting both varied and unified. The title on the painting should be horizontal or vertical, the position should be close to the corner or in the middle, the number, length and size of the words, whether it is a single style or multiple styles... these must be subject to the content of the work and the needs of the picture. . It can also be said that the content arrangement of the picture determines the position and format of the title and seal of the picture. Therefore, the seals of many works are often considered at the same time as the composition of the painting materials. This is especially true for scenes with few painting materials and many inscriptions. For example, in the painting "Landscape with Burnt Ink", the small part of the sky is inscribed: "A mountain monk wrote about his painting of a sun with burnt ink and turquoise: This is a picture of a sunny day when it is snowing. I painted a landscape by chance, and the blank space between the trees in the mountain seems to be accumulated. The ancient snow can also be inscribed by a mountain monk in the pine and stone language. However, the painting materials and artistic conception are completely different. The original painting must seek consistency between black and white. This meaning has long been known to Guiji. This is considered to be a cooling medicine, and longevity will be recognized." This inscription not only highlights the theme of the snow scene painted. The large inscription fills the sky completely, turning it into a gray color, achieving the effect of using light ink when painting snow scenes, making the work more "like the artistic conception of ancient snow". The bell in the lower right corner has a corner seal with the words "Strengthen its Bones", which plays a blocking role in the picture. The seals are spread out in all directions, and the red color echoes each other on the picture, playing a refreshing and eye-catching role.
3 The style of the inscription and seal is coordinated with the picture.
Chinese calligraphy has its high degree of unique artistry. The richly varied fonts of Zheng, Cao, Li and Zhuan are selectively and organically placed on the painting, making the "combination of calligraphy and painting" more perfect. But the calligraphy style should be consistent with the brushwork pattern of the painting. For example, Zhao Ji's workmanship in the Song Dynasty, Jin Nong's clumsiness, Zheng Banqiao's peculiarity, Zhao Zhiqian's indulgence, Wu Changshuo's boldness, their calligraphy is harmonious with their paintings. Huang Shen's "Drunken Immortal Picture" shows the immortal lying next to the wine jar, drunk and sleeping. The lines of the characters are wanton and dripping with splashes of ink. The title is also written in unrestrained cursive script: "Who said that the Iron Guai Immortal has been broken for many years." Where can I go with my mango shoes? I will be drunk on the top of Huashan Mountain." The brushwork and painting techniques of the inscription are consistent and harmonious, showing the vivid and intoxicating state of the gods and enhancing the artistic conception of the painting.
The calligraphy, painting and sealing in the landscape paintings of Mr. Lu Yushun, a master of contemporary Chinese painting, are also extremely harmonious and sophisticated. Especially in the Tang Dynasty poetic series, the lines that constitute the mountains and rivers are the gold and stone lines extracted from calligraphy. , leakage lines and wild grass lines, these tempered lines can be used freely in the painting, and they are smooth and smooth, enriching the artistic conception of the painting and adding interest and charm. The number of words in Mr. Lu Yushun's inscriptions is also overwhelming. These words inscribed with Tang poems are not only poems and calligraphy, but also an important component of the picture. They are used to balance the relationship between the reality and the virtual in the picture, as well as the illusion and mystery in the picture. The combination of , strange and beautiful lines and ink marks expresses the rich poetic artistic conception and poetic charm, making the work rich and colorful. At the same time, the number of seals on Lu Yushun's works is also very large. He started from the concept of establishing his own style, introduced the old and brought out the new, integrated the culmination of tradition, and combined it with the classical spirit, forming the beauty of the large number of seals he used, and a traditional ancient style. . This complements the Chinese bamboo slips and Tang poems in landscape paintings. He has formed his own unique artistic style. Because the painters combined and penetrated calligraphy and painting into each other, they achieved organic connections in composition, lines, colors and inks, so that the pictures were divided, interspersed, and connected, which enhanced the virtual and solid, density, opening and closing, and Anaphora and other functions make the picture richer. Reading a painting is like listening to a symphony. Various painting materials, pens and inks, calligraphy, seals, etc. make up the melodies in the movement, which are ever-changing and unique.