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In the creation of landscape painting, the artistic treatment of mountain and river scenery and the use of flowers and trees to build an artistic temple are the delicate and arduous work of the painter, and it is also a key step for the soul engineer to display his talents. Regarding this method, Shi Tao devoted himself to the Eleventh Chapter of the Path in the Quotations of Paintings. The so-called "trail" is the trick for the painter to open up the artistic conception of landscape painting, also known as the doorway and doorway. He believes that the painter has six tricks to open up the artistic conception of landscape painting. He said: There are six ways to write about mountains: the scenery is not the right mountain, the mountain is not the right scene, the scenery is reversed, the scenery is borrowed, the truncation is cut off, and the danger is steep.
1. The scenery is not the right path for the mountain, that is, "the ancient appearance of the mountain is like winter, the scenery is like spring, and this scenery is not right for the mountain.". It means that the mountains are as quaint as winter, but when they are painted, they are accompanied by green trees for the scenery of spring. This is a trick to paint the scenery of the mountain, and it is a technique of transferring flowers and trees to highlight the spring mood of the trees.
2. The path of the mountain is not the right view, that is, "the trees are as simple as winter, and the mountains are like spring, and the mountains are not right for the scenery" That is to say, the trees are simple and leafless, like winter, but the painted mountains must become green mountains like spring. This is a painting trick for the wrong scenery of the mountain, and it is also a technique of transferring flowers and trees to highlight the spring mood of the mountain.
3. The path of the upside-down scene, that is, "if the trees are positive, the mountains and stones are falling; the mountains and stones are positive, the trees are upside down, and all are upside down." This "inverted" and "positive", "positive" and "inverted" are dialectical unity in which both positive and negative aspects complement each other. Painting trees are positive, mountain stones are upside down, this tree is the main body, mountain stones are the contrast, trees have become the manifestation of the spirit of mountain stones, and mountain stones are the portrayal of the character of trees. In other words, trees have no personality, but writing about the ruggedness of mountains and stones can show the tough and tenacious personality of trees. The painting of the mountain stone is positive, the tree is upside down, the mountain stone is the main body, the tree is the contrast, the mountain stone has become the manifestation of the spirit of the tree, and the tree is the portrayal of the character of the mountain stone. That is to say, the mountain stone is lifeless, but writing about the huazi of the tree can show the vitality of the mountain stone. This "positive" and "upside", or one "upside" and one "positive", make the depicted object image clearly distinguish between primary and secondary. The picture must be still and moving, positive and backward, but the objects and images of the painting cannot all be "positive", nor can they all be "upside down", and they must be positive and negative, yin and yang, so that the picture is not dull, energetic, and vigorous.
4. Borrow the path of the scenery, that is, "highlight the meditation, the ecology of nothing to thin the willows and tender bamboo, the bridge grass pavilion, this borrowing scenery also." This is to say that when sketching on the scene, there is a original empty mountain here, there is no vitality, if you use realistic techniques to sketch, the painted mountain has no beautiful artistic conception, but in order to paint a good work, in the face of a lifeless empty mountain, you can "use the willows and young bamboo, bridge grass pavilion" to decorate this scene, but you can receive interesting and interesting artistic effects.
5. The path of truncation is "truncated, the unworldly scenery, the landscape and trees, the head and tail, the pen and pen everywhere, all truncated." "It's actually a trade-off. Because in nature, objects and images are divided into beauty and ugliness, and there are "dirty" and "unworldly". In the face of the aesthetic object of nature, the painter should give play to the subjective initiative of the aesthetic subject, carefully cut the object, make bold trade-offs, and "cut the head and tail" to make the picture obtain the desired effect. But it is not easy to adopt this technique in the creation of landscape paintings. Therefore, Shi Tao believes that a certain amount of pen and ink skills is required, so "the method of truncation is not the pen of the pine, and it cannot be entered." Only with the pen "to the pine", the picture can be empty and clear. On the contrary, if you are realistic and make the picture "dirty", it will give people a feeling of suffocation and dullness.
6. The steep path is for "those who are steep, who cannot be reached by people, and who have no way to enter." For example, "Island Mountain, Bohai Sea, Penglai, Square Kettle, non-immortals, not the world can measure, this mountain and sea is also dangerous." If the drawing is steep, only in the steep cliff path of the rugged ear, you must see that the pen strength is wonderful. This means that the so-called steepness is that people cannot reach places that nowhere to enter, such as Daoshan, Bohai, Penglai, and Fanghu, these places can only be inhabited by immortals, which are not measurable by the world, and their mountains and seas are dangerous. But people are not gods, have not seen what the place where the gods live, can only imagine a place of nothingness and profound artistic conception, therefore, Shi Tao believes that it is dangerous to draw a dangerous situation of "steep peaks and cliffs and rugged boardwalks" on the picture. To do this, "pen power is wonderful" as the key, without rich imagination, without thick pen and ink basic skills, and do not understand the layout of the "realm", it is difficult to draw a fascinating and dangerous landscape.
The above six paths are Shi Tao's tricks for landscape painting. The most fundamental point of these tips is to emphasize that the painter should develop and create beauty from the internal connection of things. Shi Tao's aesthetic idea of painting has played a great enlightening role in the landscape creation activities of future generations.
Landscape "Three Ink Method"
Shi Tao's use of ink method is the highlight of his works, opening Shi Tao's work is first of all a full ink atmosphere to bring a fresh feeling to the viewer, obviously Shi Tao must have his superiority in ink. Shi Tao lived mostly in the humid climate of the south in his life, the air humidity is relatively large, the water absorption of strong raw rice paper in the southern air humid conditions also naturally preserve a certain moisture, the painter transports ink on the paper natural warm picture always has a feeling of rain, so Shi Tao's works appear ink and ink weather is not surprising. However, the ink dripping effect of the "Search for Qifeng Hitting Draft" is made in the relatively dry north, and Shi Tao must have his unique features in the use of pen and ink techniques. The ink breaking method, the splash ink method, and the wrong ink method are the three major ink methods mainly used in the figure of "Searching for Qifeng Draft".
First, the ink breaking method
Mr. Huang Binhong has a saying: "Shi Tao is good at breaking ink, breaking light ink with thick ink, and breaking thick ink with light ink, which is very wonderful." "The ink breaking method is the basic type of ink method in Chinese ink painting techniques, and since the emergence of pure ink painting in the late Tang Dynasty, ink painting techniques have also emerged, and they have gradually enriched and improved since then." The earliest proposal of the word "broken ink" is the Southern Dynasty Liang Xiaoxuan's "Landscape pine stone grid": "Or it is difficult to fit in the broken ink, and the body direction is different from Danqing." Zhang Yanyuan recorded in the "Records of Famous Paintings of Past Dynasties" that "Yu Zeng saw the broken ink landscape and moved the pen vigorously." Since ancient times, the ink breaking method has been used by painters as a basic technique. And the good use of ink breakers are numerous, Mi Fu is a good use of ink methods, of which thick and light, splashing and mixing and other methods are skillfully used.
Mr. Huang Binhong, a master of modern painting, is also an ink master, and he has great admiration for the grapho ink method, and also proposed the seven ink methods: thick ink, light ink, broken ink, splashed ink, accumulated ink, scorched ink, and sumo. In his 1934 "Essentials of Painting Method", he elaborated on the use of broken ink: "Or to break the ink, break the outline of its boundaries, make vegetables and moss fine grass at the boundary, the Southern Song Dynasty people use it a lot, and the Yuan Qifa is prepared." Dong Yuanpo's feet are full of gravel, but he paints Kang Jianshan, first to the edge of the stroke, and then use light ink to break its recess. Coloring is not far from this, the coloring of the stone is heavy, there are clouds in the alum head of the mountain stone, the method of seeping is soft, there is sand under it, bending it with a light sweep, and then breaking it with light ink, it is a heavy rendering, that is, one of the methods of breaking ink, to be able to fuse, to be able to distinguish, to be able to get it. Mi Yuanzhang has a small print on paper, the Tibetan Zhang Yitang family, the first large line of the book '芾岷江舟還', thirty-six characters, its painting old brush broken ink, sharp four out, the actual calligraphy overflowing for painting, you can know the magic of breaking ink, all non-vague. The article mentions that the ink breaking method was used by more painters in the Southern Song Dynasty, and elaborated on the specific use method of ink breaking.
However, the most basic methods in the ink breaking method are two kinds: 1, thick and light, on the rice paper first drawn with light ink and more water, when it is not dry, with heavy ink to break it, ink rhyme effect, natural natural. 2, light and thick: first of all, the heavier ink is painted on rice paper, the ink is not easy to penetrate, and then the light ink is broken with clear water, so that the original spicy, raw thick ink becomes warm and harmonious.
Second, the ink splashing method
Shi Tao in the use of ink method is always confused with each other, intricate, broken ink is accompanied by the ink accumulation method, and there is the use of the ink splash method in the ink accumulation, so the ink splash method appears very much in Shi Tao's works, and the application methods are not the same.
The following is an excerpt from Mr. Huang Binhong's exposition of the ink splashing method: "The Tang King is temperamental and wild, and after drinking well, he splashes the paper with ink, or groans or whistles, and the feet are smeared with his hands, with its shape, the stone is the cloud for the water, the hand should be at will, if it is created, the cloud xia is drawn, dyed into wind and rain, like a god, the house can not see the traces of its ink stains, and people are called Wang Mo at the time." Mi Yuanzhang used Wang Qia's splash of ink to refer to the breaking of ink, accumulation of ink, and scorched ink. So it's thick and flavorful. In the Southern Song Dynasty, Ma Yuan and Xia Jue all used the splash ink method as a tree stone, and the ancient method still exists, and among the ink methods, there is a penmanship. Wu Xiaoxian's generation, the brushwork is lost, the false habit is false, and the ink method does not exist, gradually entering the habit of the jianghu city, the commentator Fu Zhong, Dong Xuanzai commented on the ancient and modern painting methods, especially deeply resented it. Only those who are good at using ink splashing, you have a penmanship, and apply it to distant mountains and sand and other places, if you are vague, thick and light, Si is a clever hand. In the future generations, there is no xingma yuan's eyes, and Li Zhu's so-called ink-splashing turbidity is like a ghost, and it is sincerely afraid that scholars will fall into the evil Ear. "It can be seen that the use of the splash ink method has also been around for a long time." The "splash ink" method is generally accompanied by words such as "cheerfulness", absurdity, simplicity, wildness, and roughness, which mostly reflects the wild and uninhibited character of the artist.
Liang Kai, a native of Houdongping, was a painter of the Southern Song Dynasty during the reign of Emperor Jiatai of Ning, and he was a representative of the Splash Ink Method. Although he is waiting for the academy, but his personality is wild, defiance of conventions and cynicism, often drunk and self-pleasure, but his works are mostly passed down to the world is the "Yi pen cursive" stick figure style, which also makes the painting method change from Liang Kai, most of the stick figure works painted with the effect of splashing ink to the viewer's eyes, there is a new feeling that Liang Kai's splashed ink painting method has changed the dense painting style of the lofty mountains since the Northern Song Dynasty, making it easier for the author to mobilize the mood of painting and let the arrogant temperament be expressed freely. The uncertainty of ink smudge created by the splash ink method is more suitable for those who do not play cards according to common sense, defy conventions, and seek pleasure in machine changes, and Shi Tao is one of them. Shi Tao in a landscape painting in the clouds: "Wu Zihe of Xin'an, Fengxi people also." The game is outside the pen and ink, valuing its books rather than paintings. In the past ten years, there have been many wanderers in the world. Whenever the time comes, the wine is counted, the towel is taken off, the scream is counted, the ten buckets of ink are poured, the paper will be exhausted, and the book will not be written on the painting. Looking at this paper today, the atmosphere is vivid and the brushwork is straight in the air. Want to make Qing Xiang absolutely fall on the number of the old book. This remark shows that Shi Tao has a wild personality and likes to use a refreshing ink method to create.
Third, the wrong ink method
Shi Tao mentioned in the painting: "In the past, people painted and made good use of wrong ink. The wrong person has no heart, the so-called natural also, raw smoke and leaves, like chrysanthemums, think that mistakes can not be wrong, think that not wrong and can not be, please understand. "Generally speaking, misinking refers to the ink created by the failure of the pen in the work, the author in the process of painting, a few inks placed in an unsatisfactory position, or accidentally dripped a few drops of ink for the painting, destroying the original picture effect, such ink is often referred to as wrong ink. Ink error is common, i.e. the painter usually experiences it. But everyone's approach to misalignment is different, some people abandon the work, and some people turn it ugly into beauty.
During the Three Kingdoms period, there was a painter named Cao Buxing, Sun Quan ordered him to paint on the screen, accidentally a drop of ink spot dirty silk, Cao randomly described the ink spot as a fly image. When Sun Quan viewed the painting, he used his hand to chase away the fake as the real, and carefully identified the fake flies that Cao had painted on the silk, and Sun Quan was greatly impressed by his fake and real painting skills. Wang Xizhi also wrote a poem on this matter: "The screen mistakenly confused Sun Lang, and the tuan fan ge wind tao nei history." "Since ancient times, there have also been many examples of painters who have turned waste into treasure in a hurry, and these are also at the corrective level of wrong ink, so that there will be two kinds of results: there are successful people, the finishing touch; there are losers, and the previous achievements are abandoned." Shi Tao is not the case, we have analyzed the specific application of Shi Tao's splash ink method earlier, he constantly carries out the "correction" on the screen with no points and the interlacing between lines, and Shi Tao cannot fully grasp the collision effect between ink and water. Even if he could "adjust" the relationship between forms with the skillful technique of splashing ink, the uncertainty remained. The ink halo effect produced by this "correction" and "adjustment" is exactly what Shi Tao wants to use, that is, the "ink error method".
"Ten thousand points of evil ink, brain killing rice epilepsy" in which the image of evil ink is not Shi Tao's intention, and he is very satisfied with the "ten thousand points". Among them, the proud tone also reveals that his "wrong ink point" is different from mi Youren's point and Dong Yuan's ink point. And his ink point is the "wrong ink spot" that others think is ugly, and he paints with evil ink dots, which is another practical expression of Shi Tao's "I have my own method". Mr. Jia Youfu is the main force in the study of Shitao's theory and practice, and he wrote in the class manuscript that "the grapho ink method is easy to accumulate ink (generally fade first and then thick), it is difficult to break the ink and splash ink, there are not many ink accumulations, and the vein is clear and easy to grasp." The two methods of breaking and splashing change in many ways to find the law, and the so-called extra-legal law cannot reach the law. Mistakes in writing and ink, seeking resemblance to non-conformity, and chaos as the workhorse. As for the field battle of the pen, it is really rare and precious to mistakenly write the main ink, to seek truth from wrong, and to seek wonder with chaos."
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