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Ink method is an important form of expression in Chinese painting. The ink method has not yet been proposed in the "six laws" of the Southern Qi Sheikh, and it was not until the "six points" in the "Note Method" of the fifth generation of Jing Hao that the ink method was proposed as a method. As far as painting is concerned, the longitudinal line of the pen is the magic of conveying the spirit in the form; Using ink to take the gas, the magic is in the ink to take the breath, and the combination of pen and ink can be called books and paintings.
The ink paintings in Chinese paintings highlight the aesthetic taste of ink. Ink painting, with heavenly fun to win. In the shape of ink, in the form of water. The ink is divided into five colors and is actually one, and the color is left behind, and the color is complete without color. Ink is colorless and colorless is not included, so colorless is the ultimate color.
The line originates from the Tao, and the ink is born of qi. There is ink in the pen, and there is a pen in the ink. As far as painting is concerned, the longitudinal line of the pen, the magic is conveying the gods in the form, the breath is taken with ink, and the magic is in the ink. Pen and ink are called books and paintings. Tang Dai said: "The paintings of the ancients are also yang with the movement of the pen, and yin by the stillness of ink; Take the pen to take the qi as the yang, and the ink to the color as the yin. The body yin and yang use pen and ink, so each painting is large and hilly position, small and tree stone sand and water, no stroke is not refined, no point is not vivid. It is his skill, the nature of pen and ink conforms to the nature of heaven and earth, and his paintings are called unique. Dong Zhao said: "If you make a pen like a pill, then the ink is followed by the pen, and the interest comes from itself." Therefore, although it is one color, it is thick and light, and it is full of brilliance. ("Painting Hook Xuan")
The ink paintings in Chinese painting, especially the ink landscapes, highlight the aesthetic interest of ink. Ink painting, with heavenly fun to win. In the shape of ink, in the form of water. The concept of ink painting is the embodiment of Lao Tzu's aesthetic idea of "big sound and sound, elephant invisible". The ink is divided into five colors and is actually one, and the color is left behind, and the color is complete without color. Ink is colorless and colorless is not included, so colorless is the ultimate color. Zhang Yanyuan said: "Fu Yin Yang pottery steaming, Vientiane is wrongly distributed, the words of Xuanhua, the divine work is unique." Grass and trees are glorious, and do not wait for the color of Danlu; The clouds and snow fluttered, not waiting for lead powder and white. The mountain does not wait for the sky to be green and green, and the phoenix does not wait for the five colors and the five colors, which is the reason for the transport of ink and the five colors, which is called proud. Intended to be five colors, then the object is obedient. The paintings of the husband are particularly taboo in appearance, full of history, very careful and meticulous, and exposed and clever. ...... Lost in nature and then god, lost in god and then wonderful, lost in the wonderful and then refined, fine for the disease also become careful. ("Records of Famous Paintings of Past Dynasties: On the Use of Ink")
Zhuangzi's idea of "both carving and pondering, returning to Pu" ("Zhuangzi Shanmu") is the ideological source of the aesthetics of ink painting, while the ideas of "true" and "Qing" have a profound influence on ink painting. This aesthetic view, showing the void and quiet things, leaving the remains of the gods, abandoning the clever, and meaning the mysterious painting situation. Emphasizing that the divine qi of things is in the spirit house and not in the eyes and ears, it is necessary to remove the barrier of the senses, so that the naked eye is closed and the heart and eyes are open, "beyond the image, get in its ring", and fall off the hoof, and be poor to reason. From the finite to the infinite, from the colorless glimpse to the way of ink law.
With a pipe of pen, to imitate the body of the void; With the color of one ink, the color of all things. This aesthetic view, showing the void and quiet things, leaving the remains of the gods, abandoning the clever, and meaning the mysterious painting situation. Emphasizing that the divine qi of things is in the spirit house and not in the hue of the eyes and ears, it is necessary to remove the senses, remove the eye barrier, and make the naked eye close and the heart and eyes open, "beyond the image, get in its ring"; Fall off the hooves, and be poor to reason. See the infinite from the finite, and see the way of the occult from the colorless. Gu Fang Fu said: "Mo Hao is thick and light, and the spiritual changes are just flying." Between the pictures, green and yellow purple, mist and rhyme; In the past, yunmo had multicolored people also. (Treatise on the Painting of Mountain Tranquility)
Ink is not one color but five colors, there are dry ink, light ink, wet ink, thick ink, burnt ink and so on. The relationship between ink and color, there is the main ink as the main color and the color as the supplement, there is the main ink to help the color and the color to help the ink. Use ink like a cloth array, like using soldiers. In the Song Dynasty, Li Cheng had the saying that "ink is like gold", while Zhang Xuan had the saying that "ink is like splashing". Ink is dead, alive, splashed, broken, but also pure, clean, old, tender, the method of using ink is like the operation of the five elements. Chinese painters use ink to make their own machines, and respect ink as a superior product.
They feel that there is a god in the darkness, although it is difficult to express it perfectly, so they simply turn back to the basics, allude to simplicity, grasp the deep meaning of it with the pen of the heavens, and sketch out the extremely concise and extremely pregnant embodiment with the Yi pen, placed in the boundless whiteness, making people gallop their reverie.
Use ink as a cloth array, use ink as a soldier. In the Song Dynasty, Li Cheng had the saying that "ink is like gold", while Zhang Xuan had the saying that "ink is like splashing". Ink is dead, alive, splashed, broken, Shen Zongqian said: "Ink is a wisp, a general piece, is for dead ink." Thick and light, is the living ink. Dead ink has no color, living ink has light, and it has to be defended urgently. The method has two uses: splashing ink and breaking ink. The ink breaker, the light ink outlines the kuang contour, the kuang contour is established, it is concave and convex, the shape has become formed, gradually thickened, so that the ink is flooded, often like a wet person. Repeat the contours of its boundaries with burnt ink, or use it as a thinning of the boundary.
The ink splasher, first with the earth pen to agree on the situation of the width, to make the mountain stone forest, reflect the contact, there is a trend of communication, at the junction of the virtual reality and then with light ink settled, dipped in wet ink, written in one breath, waiting to dry, with less light wet ink to cover its thick places, such as the top of the main mountain, the head of the peak stone, and the place where the cloud is covered. The so-called vivid qi rhymes, but it is really based on the use of ink to get the method, so that the brilliance is also ye. ("Mustard Boat Study Painting Compilation")
Ink is also pure, clean, old, tender, Fang Xuan said: "With ink without him, but in the clean, clean and lively." The writing is exquisite and exists in its own person. Jiang Baishi said: "The character is not high, and the ink cannot be dropped." 'Ink law, thick spirit, change flying only. With ink, thick should not be dull, light should not be blurred, wet should not be cloudy, dry should not be stagnant, to make the spirit virtual and real. ("Treatise on the Painting of Mountain Tranquility") and "The young inker covers the metaphor of fresh color and makes the divine radiance." The old ink person, the cover of the breath color is vast, and the metaphor of the wrinkles of the can be shaped.
Tender ink main rhyme, and when the smoke and mist are misty, the wetting is considerable; The old ink main bone rhymes, and the branches support the sparse mountain between the stone Zhuo, the steep can be played. (Shen Zongqian: "Mustard Boat Study Painting Compilation") The way of using ink is like the luck of the five elements, "The ink in the basin should be luxurious, and the pen and ink should be greedy and stingy." Spitting ink is like gold, and shimo abandoning is like pouring. Light and heavy, shallow and deep, and hidden, then the five collections are complete. The five harvests, the ups and downs of yin and yang are also, and their use changes, just like the five elements of the sheng ke" (Zhang Shi "Painting Tan").
Chinese painters use ink to make their own machines, and respect ink as a superior product. They feel that there is a god in the darkness, although there is pen and ink, it is difficult to use its skill, then simply reverse the basics, ingenuity in simplicity, with the pen of the heavens to catch the deep meaning of it, with a sketch sketch out of the extremely concise and extremely pregnant embodiment, placed in the boundless whiteness, let people gallop reverie.
Ink smoke is actually to create a piece of vitality and mysterious virtual reality in the real world, and the ink is to breathe in the atmosphere, and the ink is full of ink and the ink is surging and the ink is vague, making people feel that there is emptiness in the real and there is air in the air. And in that large blank space, it is to create a kind of long-distance cosmic grandification, and the "qi" flows in the frame, so that the mountains and waters have a kind of endless life.
The "flow of the Tao" that is constantly flowing. To make people melt life into the cosmic atmosphere, realize that the paper cloud smoke is actually the birth of the universe, and the chaos is just the natural way of the ink sea. The painter meditates with nature, passes through the heavens, looks up at the creation, and overlooks foreign objects. Turning the real into the virtual, in order to present the way of wordless independence; Dye the ink into rhyme to tease everything in the universe. Painting talks about ink qi, talks about ink rhyme, dry and wet, light and thick, and knowing white and keeping black are important contents of ink methods.
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