Introduction to ink:
When we study calligraphy, brushwork and ink painting are interdependent and complementary. As the saying goes, "there are few ink paintings, all from pens." The use of ink directly affects the appearance of the work.
Calligraphers in past dynasties in China have studied Mohism thoroughly. In the Qing Dynasty, Bao said in "Art Boat and Double Drum": "Calligraphy is a key to calligraphy, and calligraphy is especially good at calligraphy." With the rise of literati painting in Ming Dynasty, the ink method of Chinese painting was integrated into calligraphy, which increased the interest of calligraphy works. Such as Zheng Banqiao ink.
Thick ink is the most important ink method. The ink is dark. When writing, the pen holder is solid and thick, the ink does not float, and it can enter the paper. It has a dignified and calm effect.
Ancient calligraphers Yan Zhenqing and Su Shi both liked to use thick ink. Su Dongpo's request for ink is: "Light and clear, but not floating, Zhan Ran is like a child's eye." He thinks that ink is light but not black, which loses its function; Black is not only "boring and unpretentious". A closer look at Su Shi's ink paintings has a strong artistic effect. Liu Yong used a lot of ink in Qing Dynasty.
The book is full of style and strength, and is known as the "Prime Minister of Thick Ink". The antonym of thick ink is light ink. Light ink is between black and white, with gray tone as the main color, giving people the elegant aesthetic feeling of Qingyuan. In the Ming Dynasty, Dong Qichang made good use of light ink, and calligraphy pursued the artistic conception of "Little Three".
If you look at the whole work, the color is rich, ethereal, transparent, quiet and elegant. Xianju said in "Essays on Painting Zen Rooms": Use ink to make it available; Leap, don't make it boring, especially avoid being thick and fat, which is a great evil. Shang Wenzhi in Qing Dynasty was famous for "exploring flowers with light ink". Calligraphy originated from Dong Xiangguang, spreading its charm, and its works are sparse and beautiful.
In fact, Sichuan thick and light ink has its own charm, and the key lies in mastering it. If the ink is too light, it will hurt your spirit. Too thick is just not good. As Zhou Xinglian said in the Qing Dynasty: "The method of using ink is to make it strong, but to make it flashy, not broad." 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.