Green shade and red bridge
Li Keran
53cm×45cm
1959
The ink is lush, and the vitality is dripping
◎选自《李可染画论》（笔墨篇）
It is difficult to distinguish between pen and ink, and it is better to use a pen than ink. Those who are not good at using pen but good at using ink are rare.
Good pen and ink lies in the firmness.
Huang Lao described: "The dry autumn wind moistens the spring rain." ”
"Cang" and "Run" are contradictory.
Generally, if you use ink, you can't moisten it, and if you moisten it, you can't moisten it.
Therefore, some people paint with a dry brush and then use wet ink to render, which is not a master's method of expression.
People who are really skilled in pen and ink are pale and moist every time they write.
The so-called moist and vigorous has achieved the effect of unity of opposites.
This is honed by the author over a long period of practice, and it is difficult to explain it in simple words.
Roughly speaking, the pen does not contain too much water, so that the pen is pale; the pen is astringent and powerful, you can squeeze out the water in the pen, so that the pen is moist.
That's a little bit of my experience, and of course I can't say that's the mystery of it.
Du Fu Shiyun: "The vitality is still wet. "This is a very high requirement for ink painting.
It is not easy to use water in ink painting, and the general pen is not skillful, and the water in the ink should not be too much, and the pen and ink are used, and the picture will produce a vigorous effect.
For beginners, there is too much water in the pen, and the pen cannot be controlled, so that the ink floats on the paper, becomes floating smoke and swells ink, and the object is loose and slippery, and loses its bone strength, which is a major disadvantage of painting.
Pine shade grazing map
Li Keran
69cm×45.5cm
1989
Intention is the first to follow the pen
◎选自《李可染画论》（笔墨篇）
Tang Dynasty Painting Theory: "All landscapes are intended to be brushed first." It is said that it is important to make a mind before painting, and it also includes the requirements for using a brush.
You can not realize the pen, but you must not realize the pen.
The line of writing needs to be highly controlled, controlled to every point, so that the line can be consciously used to reflect the subtle and subtle content.
Drawing a line must not go straight down like riding a bicycle downhill, nor can it slide past like skating, this kind of pen seems to be pleasant, but in fact it is slippery and weak.
A good pen should be able to be collected everywhere and be aware of the pen.
The ancients called "stay", which is a very important point in the brushwork, it is not easy to achieve this point, and it takes a lot of effort.
Spring pasture map
Li Keran
68.5cm×45cm
1979
The changes are subtle and the layers are deep
◎选自《李可染画论》（笔墨篇）
The changes in the use of ink should be subtle, and the local changes should not be too large.
Young people who are new to Chinese painting feel very fresh when they see the changes in the shades in one stroke.
If the brushstrokes are all changed, it will make the picture "flowery" and "messy", destroy the overall feeling, and lose the great effect.
Mr. Qi Baishi paints shrimp, basically using a kind of ink color, through the light and heavy frustration of the brush, the joints of the shrimp are expanded and contracted, so that the shrimp body is transparent and bouncing, giving people a feeling of freshness and subtle changes.
The same is true of Bada Shanren, who can unify the strong overall effect with the most detailed changes, making the picture appear harmonious and integrated.
The predecessors of the masters used ink, and there are few places where the shades are thick and faint, and the shades are very different.
To paint landscapes with deep layers, it is necessary to use the ink accumulation method. Ink accumulation is the most important and the most difficult to master.
Everyone knows that when you draw on rice paper for the first time, you often feel that the ink color is lively and fresh, and the ink accumulation method has to be added layer by layer.
Those who are not good at this method will have problems such as boarding, messy, dirty, and dead as soon as they add it.
Huang Binhong, a modern landscape painter, is the most proficient in this way, and can even add it more than ten times, and the more he feels the richness and brightness.
The "ink accumulation method" is often used at the same time as the "ink breaking method".
Painting thick ink with light ink, painting light ink with thick ink, it is best not to wait for the ink to be too dry and repeated.
One of the most important points is to pay attention to the whole. Where it is the strongest, where it is the brightest, where it is the intermediate color, you have to be confident.
Huang Lao often said: "There are dragons and snakes in the painting. "It means don't fill in the light throughout.
In overtime, the second pass is not a complete repetition of the first pass, and sometimes it is staggered with different methods and brushwork, as if there is no registration for the printing set.
The brushstrokes are interlaced, gradually forming the volume, space, light and shade and atmosphere of the object.
Summer picture of lotus pond
Li Keran
87.7cm×52cm
1985
The pen is interesting and shining
◎选自《李可染画论》（笔墨篇）
Brush and ink is an important part of the formation of the artistic characteristics of Chinese painting.
The painter has the skill of brush and ink, the brush and ink and the object are integrated, the brush and ink are moist and vigorous, the dry brush is not dry, the wet brush is not slippery, the heavy ink is not turbid, the light ink is not thin, the layer by layer, the heavier the ink, the brighter the painting, the painting is not colored but the ink is colorful. The pen is interesting and bright.
The ancients said that pen and ink should say that there is "no beginning and end trace", because objective things are all integrated, and there is no trace of the beginning and the end, which is not difficult to understand.
又说“笔无痕”，看来颇为费解。
This is not to say that the painting method is so fine that the brushstrokes are not visible, but that the traces of the brushwork should be closely integrated with the natural image, and the traces of the brushwork have been transformed into the image of the depicted object.
The reason for the pen and ink is to express the objective image, and if the brush and ink are separated from the object, there is no need to exist.
The painters and calligraphers of the past dynasties on the mainland have left us an extremely rich and valuable heritage in their long-term practice, which we must cherish, learn from, and learn.
Spring rain south of the Yangtze River
Li Keran
77.5cm×53cm
1988
Li Keran