1. Thick ink
Generally, thick ink is the main form of calligraphy creation, because the contrast between thick ink and paper is large, and in the eyes of calligraphers, thick ink is the most spiritual, especially in the creation of regular books. Such as seal script, official script and regular script, it seems that only thick ink can show its strength and spirit. From the perspective of calligraphy works, there are indeed most works written in thick ink, such as Su Dongpo in the Song Dynasty and Liu Yong in the Qing Dynasty, which are masters of using thick ink. Generally speaking, thick ink is not only full of spirit in aesthetic effect, but also best grasped in practical operation.
2, light ink
The concept of light ink is opposite to thick ink, and it is not the concept of light ink commonly used in Chinese painting creation. In terms of aesthetic interest, the choice of thick ink and light ink depends entirely on the calligrapher's personal pursuit, and in terms of aesthetic effect, thick ink appears calm and solemn. However, light ink is more suitable for expressing the artistic conception of lightness and remoteness. Dong Qichang liked to use light ink in Ming Dynasty, and he pursued elegant and demure artistic style with light ink. Mr. Lin San, a close friend, is best at using light ink. Lin Lao's pen and ink works can be said to have reached a superb position. In addition, he benefited from Mr. Huang Binhong's use of water and ink, and he likes to write on the propaganda with long-term sheep hair. Therefore, the ink color is rich, and the "dry autumn wind and moist spring rain" has a distinctive artistic feature, which not only does not lack spirits, but adds a far-reaching and hazy realm.
3. Jiao Mo
Jiao Mo pointed out that the ink in the painting is not only thick, but also contains little water. Like a dry pen, it is generally not widely used in calligraphy works. This is a special method. If it is used well, sometimes it is the finishing touch. If there is a change in shade, the effect will be better! Xu Wei in Ming Dynasty and Xu Gu in Qing Dynasty made good use of this method.
4. Dry ink
means that there is less water in the pointing painting, but it is wetter than burnt black. Especially in the cursive script, it can always appear flying white, which enhances the ink level of calligraphy. For example, Mi Fei's Hongxian Poetry, Shu Su Tie and Huang Tingjian's cursive script in the Song Dynasty all have very good dry ink methods. It is said that Cai Yong was good at flying white calligraphy in the Eastern Han Dynasty. It is true. In practical application, if it is dry but not dry, it is best to have a smooth brushwork. In Sun Guoting's Book Score in the Tang Dynasty, there is a statement that "if it is dry, it will dry up", which I think is the best expression of calligraphy.
5. Wet ink
Compared with dry ink, there is more water in pointing painting. When using wet ink for calligraphy, stippling can have a rich, moist and plump "muscle book" effect, but this method is difficult to grasp, especially on raw rice paper. If you don't use it well, you will see the ink without the pen, and it will become bloated into a pig disease, so you should use it with caution.
6. Thirsty ink
belongs to the same ink sequence as dry ink and Jiao Mo, but in terms of expression and aesthetic effect, thirsty ink is between dry ink and Jiao Mo, and sometimes it sees white lines, which is used well and also has the finishing touch effect. It is often used in cursive script, seal script and Wei Kai, and it is used well, with a vast and old-fashioned artistic style. Wu Changshuo, a clean man, can be described as.
7. Ink-rising
Ink-rising can be said to belong to the same ink sequence as wet ink in a sense, but its main effect lies in writing strokes with ink-rising, and the water in stippling mostly seeps out of the edge of stippling, but the pen used in stippling is very obvious, and Wang Duo in Qing Dynasty is the best at this method. The thick ink in stippling and the light ink outside the painting are isomorphic in a word or number, which has very rich ink color changes. With this method, you can combine the ink-storing method. Often, after dipping in thick ink, the pen tip is dipped in clear water, and the rice paper with strong infiltration ability is quite tasty.
8. Su Mo
This method is often used in Chinese painting, and Huang Binhong, a close friend, highly praised it, saying, "Those who learn painting in recent times should wash their pens and inkstones first, and the inkstones should get new ink, so that they can get a clear picture. When the ancients painted, they were often free from words and calligraphy, and they were not free from enthusiasm. The so-called cherish ink as gold, and they did not want to waste ink. When painting Su Mo, his chest must first have the concept of silence and nobleness, and then he will show it in a quiet and innocent way. Those who look at their paintings are consciously dry and flat. " In ancient calligraphy works, this method is rare, but it can produce unexpected results when used well. The combination of the method of storing ink and the method of increasing ink can increase the change and level of ink color. In modern calligraphy, many people try to use it, and there are also good works. The ones that are really well used are Japanese modernist and China's modern experimental calligraphy.
9. Ink flushing
The method of ink flushing is actually not the method used in writing, and it is not the same as the completion of strokes. But after the stippling is finished, the method of using ink is to dot the strokes with water while the strokes are still wet and let the ink rush out of the painting. It is often used in modernist calligraphy works, such as Japanese calligraphy with few words. However, compared with the above eight methods of using ink, this method does not need to be used more, but only when it is needed, because its use is not irreversible in synchronization with writing.
Of course, in the process of calligraphy creation, we can't treat each ink method in isolation. On the contrary, an excellent calligraphy work should use several different ink methods at the same time. In addition, to produce rich ink color changes, the method of dipping in ink is also the key. Practice tells us that generally, when dipping in ink, we should not be full of deep immersion. Deep immersion is not only ineffective, but also writing on paper (especially rice paper), which is extremely bloated and clumsy. In addition, using water and selecting ink are also the keys to the application of ink method. In the copying and creation of calligraphy, only by practicing, observing, thinking and understanding can we master the law of using ink skillfully and form our own unique awareness of ink method.