Splashing ink is a wet painting technique of "dissolving painting" in traditional Chinese painting. It is also a method of using ink, which has existed since ancient times.
The Tang Dynasty had a painter Xiang Rong, whose birth and death are unknown. Xiang Rongshan painted ink landscapes, known as the Rooftop Virgin, and was a disciple of Tang Gaoshi Zheng Qian. "Painting Integration" is loaded: Xiang Rong, I don't know who. It is called by the name of a virgin. Good at painting landscapes, teacher Wang Mo. Composing "Songfeng Spring Stone Diagram", the brushwork is hard and less gentle, so the critics of the past ridiculed it for being stubborn, but it was quite extraordinary, and it was also a family. The second treasure of the present imperial palace: the Songfeng Diagram, the Hansong Gargle Diagram. Jing Hao of the Fifth Dynasty said in the "Book of Penmanship": "Xiang Rongshan people are stubborn in trees and stones, without edges and corners, and use ink to obtain Xuanmen, and use pens to have no bones; however, they are relaxed and do not lose the yuan and true weather." Jing Hao also once said to people: "Wu Daozi paints landscapes, there is a pen but no ink, Xiang Rong has ink but no pen, I should pick the length of the second son." From this point of view, although Xiang Rong's paintings have no traces, they are longer than using ink and do not distort the yuan in relaxation.
Zhu Jingxuan of the Tang Dynasty, "Famous Paintings of the Tang Dynasty": "Wang Mo, who does not know who he is, nor does he know his name, is good at splashing ink to paint landscapes, so people are called Wang Mo. Traveling between rivers and lakes, he often paints landscapes, pine stones, and miscellaneous trees. Sex is more wild, good wine, where you want to draw a picture, drink first. After drunkenness, it is splashed with ink. Or laugh or groan, feet rubbed with hands. Or waving or sweeping, light or thick, with its shape, for the mountain for the stone, for the cloud for the water. Be at your disposal, as if you were a creator. The figure is cloudy, dyed into wind and rain, like a divine coincidence, looking down and not seeing the traces of ink stains, all of which are strange. The Qing Dynasty Peng Yuncan's "Biography of the History of Painting in Past Dynasties" says: "Wang Qia (yin: xie, xie, pingsheng), Shi Xiangrong, crazy and drunk. Painting turquoise landscapes, although lack of high qi, the customs are also good. After getting drunk, he used his bun to take ink against the silk painting. In his early years, he taught penmanship to Zheng Guangwen (虔) in Taizhou, and died in Runzhou at the end of Zhenyuan, and Gu Was his disciple. Whoever wants to draw a picture obstacle, after first drinking and drinking, is splashed with ink, or laughing, or groaning, foot stomping, hand smearing, or waving, or sweeping, or light, or thick, according to its shape, for the mountains as stone, for the clouds as water; ”
The "Qinghe Calligraphy and Painting Boat" contains "Taste the Qinchuan Liu Yize Sun Secret Treasure Gu Jiangnan Chuntu Sleeve Roll, followed by the Song and Yuan Dynasty Famous Sage Inscription, the penmanship is dashing, naïve and rotten." Recently seen Xiang Shi. In the past, people commented on the paintings into the gods, originating from Wang Qia (that is, Mo) and Xiurun was too good, not Xu Yun. ”
The Tang Dynasty splashing ink paintings recorded in historical materials are mostly to present the accidental effect of ink pouring, and the step of "splashing ink" is to directly sprinkle water and ink color onto silk with special brushwork, so that water, ink or color are inorganically and accidentally dissolved on the silk medium. After spilling, there is often a need for follow-up brushwork to further clean up. Therefore, the splash ink painting method is also very free. However, this kind of freedom, compared with the tradition of sheikh's six laws and form theology, this kind of "splashing" and "sprinkling" is indeed difficult to interpret clearly within the scope of the traditional pen and ink law.
Zhang Yanyuan said that Wang Qia's "brushwork" came from Zheng Qian, but he also believed that this kind of splashing ink belonged to "technical use" because it "disappeared". He included "splashing ink" in the category of "technical use" of "on the use of rubbing for painting and body work". Similar legendary painting methods existed in the Tang Dynasty, and they are not included in the history of painting. For example, the five records of the "Youyang Miscellaneous Tricks" have "In the great calendar, there are warlocks in Jingzhou" who can "combine colors in one instrument", "Drinking water is repeatedly on the wall, and the five colors are disguised, and the five colors should be written as new." "In the same volume, a "Fanyang Shanren" can make "water paintings", which is exactly like the "water extension method" of modern ink painters, whose method is to dig the ground into a pool, "with Danqing ink stone", "longitudinal pen on the water" and then "expand to silk", "eat is, cite the view, ancient pine strange stone, character house wood, all prepared." The above description shows that "噀" is a method of "wet painting". Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties and On the Use of Painting Styles" says: "The ancients painted clouds, not for the best, if they can dip the silk, embellish the light powder, blow it with their mouths, it is called blowing clouds." The method of "blowing clouds" is like the wet painting method of watercolor painting, the painter skillfully uses the fusion effect of white powder and water, and blows the mouth to make the powder water flow naturally and form a visual effect of different shades and shades, such as floating clouds. This stunt, called "blowing clouds", can be combined with the "splash ink" technique. The combined "dissolving painting" technique creates an artistic effect different from the traditional depiction of patterns. The painter's brushwork is replaced by the "fluid contingency" of dissolving painting from the "rational initiative". However, this kind of ink splash painting without "brush traces" means that the painter ignores the subjective creativity of the "brush intention" because the painter passively uses the physical properties of the material. Therefore, Zhang Yanyuan believes that "splashing ink" belongs to the method of cleverness, so it is "not a painting" and "cannot be imitated".
Xiang Rong lived at the same time as Zheng Qian (705-764), who was relegated to Taizhou. Regarding Xiang Rong's painting style, Xia Wenyan, a Yuanren, recorded in the "Picture Painting Treasure Book": "As a songfeng spring stone map, the brushwork is dry and hard and less warm, but it is quite exceptional, and it is a family. But this shows that Xiang Rong and Wang Qia are two different styles of painting, and it also proves that Wang Qia's ink splashing method was gradually formed later, but in the end it was Wang Qia who carried it forward. Regarding Zheng Qian's painting style, Qing ren Gong Xian has "Double Tree Diagram Axis, Ink on Paper Length 180.7 Width 83.2 Cm". His painting has the title "When I was young, I saw Zheng Qian's double tree diagram, but I didn't expect it to be at the bottom of the pen fifty years later, not to imitate it...". It is said that his works are very close to Zheng Qian's painting style.
Tang people's splashed ink landscape paintings, because it is difficult to load into the studio, so no works have been handed down to this day. However, we can glimpse some of the Impressions of Tang Dynasty Paintings depicting Splash ink landscape paintings from the poems of the ancients. Some historical materials also record that Xiang Rong's grandchildren Xiang Su and Xiang Xin were all splashed ink landscape painters. Their poet friend Fang Gan once wrote the poem "Ink Turquoise": "The third generation of essence is not in the world, and the pen is terrible to see kung fu." Tim came to the cliffs of the yin and dark, and the sprinkles of light bushes dried up. The cold clouds swallow the desert, and cross the river and spring rain into the whole Wu. Lan Tang sat for a long time confused, but the mountains and rivers were drawing. The Tang tortoise is covered with the poem "He Wu Zhen Shi Hua Ding Wand": "Visit Tan Xuanke and hold a picture of splash ink." Song Luyou's poem "In the Snow": "Twilight clouds are like splashing ink, and spring snow does not become a flower." "In the five generations after the Liang Dynasty, the Capital of Yidu Qinglian Temple Shamen (abbot monk) Dayu, once begged to paint in Jinghao, sending poems to achieve his meaning. The poem says: "Six paintings were built in the past, and the traces of the emperor were known." Don't ask for a thousand streams of water, but two pines. There are rocks under the trees, and the peaks are far away in the sky. Near the rock, it is wet, but the ink smoke is thick. From this, it can be seen that he asked Jing Hao to paint a turquoise map, with the double pine standing on the cliff as the main body, the nearby is the cloud smoke rendered by ink, and the distant peaks are undulating. Soon, Jing Hao did indeed paint a gift to Dayu and echoed an answer poem: "Sweeping freely, the peaks and peaks are the first to be formed." The tip of the pen is cold and the tree is thin, and the ink is light and the wild clouds are light. The rock fountain is narrow and the mountain roots are level. When the Zen room is exhibited, it is also called bitter emptiness. "This is obviously quite satisfactory to his ink-drenched work, but it also reflects his "bitter emptiness" state of mind after retiring." "Bitter emptiness" is a Buddhist language, which believes that everything in the world is suffering and emptiness, which is also a feeling of disgust for the chaotic world.
In the history of painting after the Song Dynasty, it is more clear that "Wang Qia" is good at splashing ink. For example, in the "Xuanhe Pictorial Notation": Wang Qia, I don't know who it is. Good energy can splash ink into paintings, and everyone is called Wang Splash Ink at the time. ...... And "Painting Integration" Yun: "Wang Qia, I don't know who it is." Good energy can splash ink into paintings, and everyone is called Wang Splash Ink at the time. Sexual drunkenness and neglect, more pride in the rivers and lakes, whenever you want to make a picture, you must wait for a deep sleep, undress, groan and jump, first with ink on the top of the picture, because of its image, or for the mountain, or for the stone, or for the forest, or for the spring, natural nature, as if created. The clouds and clouds are curly, the smoke and rain are bleak, and there are no traces of ink stains, which cannot be reached by the brush and ink of painting history. Song Bai xi inscription, taste the title of the landscape poem painted by Qia, its first chapter yun: "The stacked layers of mountains are spilled, and the details are happy to urge each other." This is known as the painting of Qia Splash Ink as The Perfect Miao. The second treasure of the present imperial palace: Yanguang Yuse tu, Qiao Song tu. Song Bai's inscription poem uses the word "splash" like a Tang poetry.
In summary, the names of Wang Qia, Wang Mo, Wang Mo, and Wang Pomo that appear in the history of painting are actually Wang Qia alone.
The Song Dynasty Liang Kai was also good at splashing ink techniques, and Liang Kai was the Southern Song Dynasty Emperor Ningzong dynasty, and was appointed to the painting academy to be edicted. "Splash Ink Immortal Figure" is the earliest surviving splash ink freehand figure painting, which is not only a departure from the traditional linear classic painting expression language, but also an independent symbol of the splash ink language in the history of painting.
Historical records also record that Wang Qia used the splash ink method to paint the "Yunshan Map" of the Tiantai Mountain View, and the great painter Huang Gongwang of the Yuan Dynasty saw this painting, as evidenced by his poem "Titled Wang Qiayun Mountain Map": "The stone bridge is connected with Chicheng, and the Yunsuo Qionglou is full of tree smoke." There is no need to ride the car to the weak water, the world has its own immortals. Unfortunately, his paintings have not survived to this day.
The Ming Dynasty Li Rihua said in the "Bamboo Painting Concubine": "The ink splasher uses ink delicately, and there is no handwriting, such as spilling out of the ear." Dong Qichang also said: "Yunshan did not start with Mi Yuanzhang, but since Wang Qia splashed ink in the Tang Dynasty, it already had its meaning." ”
Shen Zongqian's "Mustard Boat Study Painting Compilation" of the Qing Dynasty: "Ink splashes ink, mountain color is splashed green, grass color is splashed green, splashed for use, the most full of qi rhyme in the painting." "Later generations refer to the splashing ink painting pen full of ink, or dot or brush, ink dripping, magnificent, are called "splash ink".
Qing Huang Jingren's "Pearl Curtain Flower Toward The Rain" has the following words: "The spring yin splashes ink people to sit sadly, and the rain and the spring snow are like grinding." Wu Qizhen, a Qing dynasty, had also seen a volume of "Zheng Qianyuan Ming Tu Silk Painting", and Wu Qizhen believed that "the painting method is exquisite, and it is no different from Liang Kai's painting. That is to say, it shows that Zheng Qian's method is related to the Southern Song Dynasty's ink-splashing painter Liang Kai, and Wang Qia and Zheng Qian both belong to the "partial yi" painting style. At least it proves for posterity that Zheng Qian once had some intrinsic inheritance connection with the development of splash ink painting.
Wu Shixian, a modern Painter of the Late Qing Dynasty, alias Wu Qingyun, nicknamed Wu Qingyun and The Ink Daoren; good at landscapes, strong landscapes, strange hills and valleys, not heavy at first, both to Japan, is a long smoke and rain method, ink halo, vivid smoke clouds, peaks and mountains, yin and yang to the back, can be rendered into subtlety. Therefore, its obscure opportunity, the shape of wind and rain, all appeared one by one, this cover refers to the Western method, do not come out of the machine, so at that time there was a refreshing feeling, especially in Shanghai cantonese businessmen. Huang Binhong believes: "Wu Shixian painted, put a water tank upstairs, wet the paper until it was wet, and then used a pen to paint out the cloud smoke, although it is not unworkable, the intellectuals do not take it, and it is also without a pen." "He is also good at two ink plays, Mi Fu and Gao Kegong, but his temperament is more vulgar and he has no illusory spirit."
Hong Huizhen, a modern person, also published an article entitled "Tang Dynasty Splash Ink Splash Color Landscape Painting Pioneer 'Gu Sheng' Examination" in the 11th issue of Art Observation magazine in 1998, which also has the inheritance and identification of the Splash Ink Splash Color Painting Method. There are very few historical records about the splash ink painting method, and it may also be because this technique is too far away from the norm, so it is abandoned and not detailed in the history of painting in the past, and only note-taking novelists are interested in recording it as a talking point. Therefore, it also causes difficulties for us today to correct the study of the history of splash ink and color painting.
Splashing ink is actually using a large pen to "dissolve" water and ink on paper or silk, or painting with its natural form or according to the shape of the shape they want to form, with a bold gesture, and the ink is spilled out. This kind of "ink splashing technique of dissolving painting" began with the Tang Dynasty Xiang Rong, Zheng Qian, and Wang Qia, and then experienced the exploration and research of generations of painters, and finally the splash ink painting method of traditional Chinese painting was brilliant in the history of world art, that is, Mr. Zhang Daqian, a master of Chinese painting who moved overseas in the last century and shook the world.
Since Mr. Zhang Daqian moved overseas in the last century, he has left a large number of splashed ink and color works in the More than 20 years since he lived and lived in Bade Garden, Five Lakes Pavilion, Keju, Huanju, and Maya Jingshe after he moved to Taiwan. On the basis of the splashing ink of the ancients, he added a bold painting method of dissolving colors. For this reason, we can call him "the world's first wonder artist". However, Mr. Zhang Daqian has never left the sheikh's six-law barrier, and while studying and developing the "melting painting" technique, he has also carried out complementary research and transformation of the traditional green landscape painting method and the Tang people's ink splashing method, and in his bloody battle against the ancients, he has killed an opening road independent of the history of ancient and modern Chinese and foreign painting. What is even more valuable is that when he integrates this abstract "dissolving painting" technique with the traditional figurative painting method, he retains the indispensable "book charm" of traditional Chinese painting creation, thus forming a calligraphy of splashing ink and splashing color independent of the field of world painting art. Mr. Zhang Daqian is really a "painting emperor of thousands of years" also.