The formation and development of Mohist consciousness has gone through a long period. Although Mohist consciousness is later than brushwork, calligraphy and composition, its vitality is no less than brushwork, calligraphy and composition in terms of its development after its formation. Among the "four methods" of calligraphy, I think that the ink method is not only an important aspect to form the flesh and blood of calligraphy, but also one of the important means to express the artistic spirit of calligraphy. Together with other "three methods", * * * has constructed the true meaning of the artistic beauty of calligraphy. Many excellent calligraphy structures and great works of the times all reflect the strong consciousness and skillful use of calligraphy? Remember the umbrella lt; BR> Taking thick ink as an example, this paper tries to introduce the ink-using skills of three calligraphy masters in Tang and Song Dynasties. To be fair, most calligraphers in the Tang and Song Dynasties did not use much light ink. In their view, light ink is too easy to damage the appearance of calligraphy works and cannot reflect the vivid charm of calligraphy. Therefore, for most calligraphers, the method of thick ink is highly respected. Sun's "Book Score" said that "dry is dry", which is the best explanation of the application effect and aesthetic standard of thick ink. In terms of specific works, it seems that from the representative works of Yan Zhenqing, Su Shi and Mi Fei, we can feel the exquisiteness of their ink and wash skills.
First of all, let me talk about Yan Zhenqing, whose writing style is very individual. Whether it is regular script or cursive script, he has dealt with the introverted essence and explicit tension in a very harmonious way, and the overall style gives people a feeling of being strong, vigorous and vigorous. It is not realistic to talk about its ink-using method from regular script, because most of its regular script is engraved with ink, which is difficult to find. It is difficult to find an article on "Confessions in Books", but its authenticity remains to be tested. However, even if it is really Yan's book, it can only be said that it is a standard thick ink method, and it has not changed much. If we can make some association with his tablet book, I think his regular script "Painting a Praise Tablet in Dong Fangshuo" is very distinctive in ink. The combination of implicit and restrained pen and ink, which the ancients called "a needle hidden in cotton wool", is absolutely true! We think the use of ink is very representative. We sum up this technique of using ink as light ink, or rather light ink. For example, his masterpiece cursive script, Liu Zhong's postscript, and Ji Ming's My Nephew's Manuscript, especially the latter, are excellent works of pen and ink. Although it is a practical and urgent draft book, its skill application can be said to be perfectly reflected in this state of unintentional insertion of willow trees into the shade. As Su Shi said, "Fortunately, there is no intention at the beginning of the book", this technique of using thick ink to lightly trace makes the pen and ink in his book like silkworms spinning silk, and the pen and the pen are related, and the rest of the words are born together, with great momentum, but the momentum is restrained and the shape is swaying. Its brushwork should be able to hold the pen, calm, use the pen in place, unrestrained, pay special attention to the connection between pen and pen, word and word, from the heart, natural.
The second skill of using thick ink can be summarized by the practicality of ink, taking Su Shi as an example. When Su Shi wrote a book, Huang Tingjian once called it a "stone-broken toad". I don't know whether it refers to the illness of Su Shi's calligraphy or the interest of his calligraphy. But what is certain is that the glyphs in his works are relatively flat. Su Shi's calligraphy can be summarized by "black" and "black" in terms of ink use. Indeed, seeing Su Dongpo's ink, my heart moved and my spirit did it one brace up. He uses ink very fastidiously, and thinks that using ink well should be as black and shiny as a child's eyes. In fact, Su Shi did just that. On the basis of his regular script "Fu on the Red Wall", the place where the ink is spread and collected is extremely round, which is close to Liu Xiaoqing's cloud: "(The book) is like a pearl-like millet with faint ink marks. The most intriguing. This method of using ink is beyond the expression of stone carving calligraphy. Therefore, the method of using ink was not common in previous generations. " It can be said that it is true. The method uses a round pen, the front is relatively short, and the edge pen is self-generated. The ink should be black and thick, and the pen should be important and solid.
The third technique of thick ink application can take Mi Fei as an example. His pen calls itself "brushing words", so it is called the flexible use of thick ink. His book is meaningful, leisurely and happy, and it is unstoppable. In fact, Mi Fei's method of using ink and pen are inseparable. In his works, he calls himself "showing off on all sides, and I am a brush character", which has his strong personality pursuit. He has been immersed in "Wang Shu" for a long time, extracted the ingenuity of "Wang Shu" and formed a unique calligraphy style with his own understanding. The flexible use of ink is actually the flexible use of pen. There are many works handed down by Mi Fei, the most representative of which are Shu Su Tie, Shao Xi Shi Tie and Hong Xian Shi Hua, and there are a large number of essays with profound artistic accomplishment and outstanding artistic expression. We say that all methods of using ink are based on brushwork and form in composition. Only the combination of the three can produce excellent works, and for Mi Fei, his flexible use of pen and ink is inseparable from brushwork.
Finally, we want to emphasize that no matter whether ink is light, solid and vivid, we should always pay attention to the position of ink in calligraphy practice. It is absolutely meaningless to talk about ink in isolation from brushwork and composition. As for the skill of using ink, it is light, solid and vivid. Only in the practice of calligraphy, more presence, more reading, more thinking and more understanding is the right way.