First, thick ink
Creating with thick ink gives people a sense of strength, which is suitable for the creation of seal script, official script, official script and running script. In Song Dynasty, Su Shi made good use of thick ink in his books, while the layman Dongpo said that ink should be "as bright as children's eyes", which was contrary to pen and ink. His books are thick, full, rhyming and penetrating. When using thick ink, pay attention to the stagnation of the pen under the ink. The pen must sink into the paper and not float on it.
Thick ink belongs to the anode in the category of yin and yang in traditional philosophy, while light ink belongs to the cathode. Therefore, thick ink can better show the vigorous and straight inner tolerance. When it is necessary to express a severe, passionate and sonorous emotion, it can promote the expression of this artistic conception, as evidenced by the books of Yan Zhenqing, Kang Youwei, Sha Menghai and Lu.
Second, light ink
Writing in light ink gives people an elegant and quaint charm, but light ink should not be too light, otherwise it will hurt the impression if you don't master it well. Generally, cursive script and running script are used to write, but seal script, official script and official script cannot be used. Dong Qichang in Ming Dynasty and Wang Wenzhi in Qing Dynasty were the best at using light ink. Dong Qichang's books and records are simple, light, quaint, elegant and harmonious, giving people the smell of fairy dust and fireworks; The works of Mr. Wo Xinghua, a contemporary scholar and calligrapher, occasionally "make people whimsical" in this way. In modern Japanese calligraphy creation, friends like to use light ink to show that quiet and respectful tea is Zen and fairy wind is bone; China's creation of modern calligraphy can also be used for reference.
There are three ways to use light ink: one is to dilute the thick ink with clear water before using it; Second, dip the pen in a little thick ink first, then dip it in clear water and then start writing. Third, after the belly of the pen is fully dipped in water, the nib is dipped in a little thick ink for use. When you want to express the artistic conception of Jing Ya, you might as well try the light ink method, which may achieve unexpected results.
Third, dry ink
Flying white, dry pen and thirsty pen are three common brushstrokes (forms) used by the author when he creates with dry ink, which can better reflect the calm and happy momentum and Gu Zhuo's old-fashioned brushwork. The dry ink used in Shu Pu written by Sun in Tang Dynasty refers to "dry ink". Bofeiqi's brush strokes are characterized by white silk in a pen quilt. According to legend, Cai Yong, a calligrapher in Han Dynasty, saw a servant with a chalk broom in Hongdumen.
Inspired by painting a wall into a jade, I got the news and used it in calligraphy creation. It was called "Flying White Book", which was widely used in inscriptions by Han and Wei officials. Empress Wu Zetian in the Tang Dynasty liked to write flying white books, and the tablet of her own book (Fairy Tablet) is now in Haiyan County Museum, Zhejiang Province. Dead pen. Command the pen in the middle of the stroke to quickly wipe the paper with a pen, and the stroke is feathered rather than linear. Mi Fei, a calligrapher in Song Dynasty, made good use of this brushwork. A thirst for pens. Refers to the dry and powerful ink formed by the brush rubbing paper with fast and powerful strokes. Its brush strokes are characterized by dampness in illness and moistening in dryness, which seems to be dry and solid. The ancients called it "dry autumn wind". Mr. Xu Shengweng, a modern calligrapher, Mr. Wang Yong and Mr. Zhang Hai, a contemporary calligrapher, all make good use of this method to publicize their individuality. Shao Yan, a Shandong modernist calligrapher, won an award-winning work "Leaving Residual Lotus to Listen to the Rain" at the China Paste Exhibition after the seventh generation. He endowed his works with rich connotation and artistic conception with two main brushstrokes, dry pen and thirsty pen, and endowed them with new expressive force and vitality. Dry ink is suitable for expressing the artistic conception of simplicity and grandeur, and for the creation of seal script, line and cursive script of this style.
Fourth, moisten ink.
Moistening ink refers to the moist ink color spreading and blooming slightly from stippling. The ancients described this charming ink method as "spring rain moistening things" Because the ink is moist, the' Errun Ink Pen' needs to be quick and skillful, and cannot be delayed, so that the stippling is full and complete without the rhyme of grain fertilizer in the faint ink color.
Wang Duo, a calligrapher in Ming Dynasty, liked to moisten ink and created a unique method of "adding ink". In addition, the brushwork of "flying sand and stones, flying tigers jumping and bears running" makes it easy to understand the meaning of poet Du Gongbu's "vigorous and still wet". Mr. Lin Sanzhi, a "contemporary sage of grass", combined the theories of calligraphy, painting and poetic rhythm, skillfully used Runmo, and created many fine calligraphy works of Little Yi San Xian, which constituted another calligraphy classic for future generations to learn from. Moistening ink is suitable for expressing the artistic conception of softness outside and rigidity inside, and is suitable for this style of cursive writing.
The above ink method is not immutable. Only by mastering it, can you sink into Mo Chi, spread the sages, and work hard at it. In the specific creation (especially the creation of cursive script and cursive script), the integration and flexible application of several ink methods make the works full of ink color and changes, showing the interest of ink method and the charm of artistic conception, making the works show the author's soul and the natural realm of harmony between man and nature.
When we appreciate the representative work of Duke Lu in Tang Dynasty, we can find its rich and changeable characteristics. The first line of his work is decorated with ink; The second and fourth lines are wetted with ink, and the tape is dry; The third line is dry and moist. The alternate change of ink color truly reflects the inner feelings of Dian Zhenqing, sometimes sad and painful, sometimes angry and hateful, so ink painting also reflects the author's spiritual feelings.
In a word, the key to using ink lies in the unity of opposites and the perfect use of nature when creating.