When learning calligraphy, brushwork and inkwork are interdependent and complement each other. As the saying goes, "what little inkwork there is, comes from the pen." The use of ink directly affects the look of the work. Calligraphers of all dynasties have all studied ink techniques in depth. Bao Shichen of the Qing Dynasty said in "Yizhou Shuangji": "Calligraphy and calligraphy are based on ink, and ink techniques, especially calligraphy, are a key factor." Ming Dynasty literati With the rise of painting, the ink techniques of traditional Chinese painting were integrated into calligraphy, adding to the interest of calligraphy works.
Dense ink is the most important ink method. The ink is thick and black, and when writing, the strokes are solid and deep, the ink does not float, and can sink into the paper, giving the effect of being dignified, steady, and radiant.
Ancient calligraphers Yan Zhenqing and Su Shi both liked to use thick ink. Su Dongpo's requirement for the use of ink is: "light and clear but not floating, as clear and clear as a child's eyes." He believed that using ink that is light but not black will lose the function of ink; black but not light will be "plain and lifeless". A closer look at Su Shi's ink marks reveals an artistic effect of thick ink. Liu Yong in the Qing Dynasty also used ink heavily. The style of calligraphy is rich and vigorous, and it is known as the "prime minister of thick ink". The opposite of thick ink is light ink. Light ink is between black and white, with a gray tone, giving people a distant and elegant aesthetic. Dong Qichang of the Ming Dynasty was good at using light ink, and his calligraphy pursued Xiaosan artistic conception. From the perspective of the whole work, there are rich changes in shades, ethereal and clear, quiet and elegant. Xianzhu's "Essays on Painting a Zen Room" said: "The ink must be used to make it rich; the ink should not be dull, especially thick and fat. It's a great evil." Shang Wenzhi in the Qing Dynasty was known as "Light Ink Painting". His calligraphy originated from Dong Xiangguang, who is said to be the god of wind, and his works are sparse and elegant. In fact, Sichuan thick and light ink have their own charm, the key is to master it. If the ink is too light, it will hurt the spirit; if it is too thick, it will be harmful to the lack of edge. Just as Zhou Xinglian said in the Qing Dynasty: "The method of using ink is to make it lively if it is thick, and lively and gorgeous if it is light, and the ink must be wide. If you are not good at using ink, thick ink will easily dry up, and light ink will become thin. In a few years, the ink will become thin. It’s already dying,”
Ink swelling refers to the phenomenon of excessive ink spilling out of the strokes on rice paper. Increasing ink is not based on the orthodox ink concept of "ink does not come out". However, the beauty of rising ink is that it not only maintains the basic shape of the strokes, but also has a hazy ink interest, blending lines and surfaces. Wang Duo is good at using expanded ink to expand the expressive level of lines. The combination of dry, light, dense and wet ink in his works, with rich ink colors, sweeps away the rigid ink techniques of his predecessors and creates a strong visual artistic effect. Huang Binhong is more unique in the study of ink techniques and put forward the theory of "five strokes of L ink". He occasionally applied the ink-increasing method to the creation of seal scripts, which was very interesting.
Thirsty pen and dry pen respectively refer to the effect of writing on paper after most of the moisture contained in the ink in the pen is lost or the ink is lost. When you are thirsty, you can see moistness in the blue sky; when you are dry, you can see oldness in the green grass. When writing, use the two methods of thirsty pen and dry pen, and the amount of ink should be controlled appropriately. Mi Fu's handwritten note "Jingsu Tie" from the Song Dynasty "I wanted to send it to you tomorrow, the moon is bright, so I sent it to my ears this evening;" these words are expressed with thirsty and dry brushes, which are vigorous and vigorous.
The expression skills of calligraphy are very rich, and the use of water is the key to expressing various simple ink methods. "Hua Tan" said: "The ink method uses water, using ink as the shape, water as the gas, the gas moves, and the shape is alive. It is really reasonable to use ink and wash together." In addition, the technique of using ink is closely related to the importance of the brushwork and the quality of the paper. The change of ink color in a calligraphy work will enhance the rhythmic beauty of the work. Of course, the use of ink must be natural, and one must not blindly pursue a certain effect of ink and fall into vulgarity.
When the ancients discussed painting, there were four elements in the use of ink:
The first is "living", writing is crisp and smooth, and the ink color is moist and natural;
The second is " "Fresh", the ink color should be bright, fresh and pleasant;
The third is "change", combining virtual and real, with various changes;
The fourth is "the pen and ink are consistent", the pen and ink reflect each other, Harmony. This transfer to the use of ink in calligraphy should also have a certain enlightening effect.
The method of grinding ink is to use clean water. If there are impurities in the water, the ground ink will be impure. As for adding water, you should not add too much water at first to avoid soaking the ink or causing the ink to splash everywhere. It is better to add it gradually. Grind the ink evenly and slowly until the ink is thick. The ink must be freshly ground. Ink that has been ground but has been left for too long is called "suspension ink", and "suspension ink" is generally not available. But there are also painters who like to use Su Mo to paint, but that's just an exception.