The legend of the painting is still in place, and there are famous artists in the generation, and the Geyin is special. Examination of the life of the Emperor, the rate of many masters, all for the painting tips, scattered in the art forest. Six laws and six longs, quite a little bit of the essentials. However, people are not their people, it is difficult to paint for painting, and the teacher is accustomed to it, so far there is nothing to do. Talk about what you see, compile it into a chapter, talk about it, and know it (the painting garden is circulated, most of the people are high-level rhymers, and they write about the ease in their chests, and this person is in harmony with the painting, which is really a conclusive conclusion).
The weather of the mountains and rivers is based on the mud, the forests and mountains are delivered, and the Qing is the law (the painter is the most important method. Clear two words, whole paragraphs, the beginning of the two). The situation is humble and humble, weighing the small and the big, the scenery is far and near, and the dose is shallow and deep. The side of the mountain is easy to write, the front is difficult to work, the waist and feet of the mountain are easy to become, and the peak is difficult to stand. The main mountain is low, and the side of the main mountain is far away. The mountains arch and subside, the main mountain is the first respect, the peaks are intertwined, and the ancestral peaks are thick. The earth and rocks are overlaid to increase its height, and the branches are linked together to make it wide. Once recovered and released, the mountain gradually opens and turns; together and again, the mountain wants to move and grows (undulating and retracting, including the method of vertical and horizontal use). The back is not visible, the side of its peak, the trance face of the cliff, the col can not be seen, the forest is thick, such as the hidden house. The mountain is divided into two feet, half silent and half noisy; the cliff is abrupt and hanging, and there is an existing hidden. Near the Fu to inherit the top, there is a feeling of respect and humility; the distant mountains are low and high, and there are the alien images of the host and the guest (the foot of the mountain, the pitch takes care of the affection. Near the peak and far peak, the shape should not be offended. This chapter is important, and scholars should not let it go).
The dangerous rocks are cut and erected, and all depend on the distant Xiu as the screen; the huge ridges are horizontally opened, and the wat is inserted by the peaks. A touch and the mountain is far away, the layer of the tomb in the belly of the noble belly turns; a peak and the mountain shape is beautiful, and the trees and stones on the edge of the ridge are colorful. The number of paths are connected, or hidden or exposed, and the peaks are facing each other, or broken or connected. The peaks are eager to go up, looking up at the sky, and the sand is running together, and the ground is thin. The mountain is born from the broken place, and the water comes out when the mountain is crossed. The passage of the mountain range is according to its water path, and the reach of the waterway is the shape of the mountain (the waterway is the blood of the mountain, and the waterway is not clear, then the width is stagnant. Those who should deliberately study it). The terrain is different to form a road, when it is dangerous, the water is flat and the sand is drawn, and it is not allowed to be slanted. Near the mountains, every stone foot at the edge of the village, far sand is delivered, see the peak of the mountainside. There is a house in the tree, and there is a mountain behind the house, and the mountain is often misty; there is sand beside the stone, and there is water by the sand, and the water is empty and loved. Pingyuan faction, water and land are different.
The rivers and lakes are reflected in the sandy shore rutin, the sail and the wild goose, the brake rod and the oar, and the tired fisherman; the village is laid out with the fence path of Tianlu, the willow embankment of Huzhu, the Maodian Banqiao, and the Yanxu ferry boat (Pingyuan is the most difficult to make in the painting. This is divided into rivers and lakes, villages, rain scenes, and evening scenes, which is the painting method. Yejing is based on Zhao Danian, and Jiangjing is Jiangyan Zhugong. Look at this embellishment, the painting method is exhausted).
The mountain is quiet, the water is moving, the stone is stubborn, and the tree is alive. The soil has no full shape, and the size of the stone helps its shape; the stone has no full angle, and the left and right sides of the stone hide its corners. The soil carries the stone and should be judged lightly, and the stone base stone should be on the surface (the stone is painted in the landscape, which is different from the ordinary painting method, and the soil and stone must be made into a muddy way. Although it is extremely dangerous, and the location is natural, it is qualified). The standing trend of the stone is positive, the trend is oblique, the front of the flat is flat, and the side is reversed. In the middle of the mountain, the stone is the tooth tooth, and the flat base is long, and the stone is the knee toe. The ridge is led by stones, and the mountainside is sheltered by trees. The mountains are solid, and the void is filled with smoke; The shape of the mountain wants to turn, and it turns back against the trend, and the shadow of the tree wants to be high, and the rest is low and towering. The mountain is steep and sloping, and it is not two wings, and the trees are high and low, and they are rarely side by side. The stone walls are clenched, and the trees are supported by branches, and a few trees are pulled back. The horizontal cliff spring falls, the scenery has been lurking and suddenly passing; the lonely mountain stone flies, and it is about to fall and still embellished. The tree is lined up to guard the gorge, and the stone is lying down to the obstacle. There are mountains outside the mountains, although they are broken and continuous, and there are trees outside the trees, which seem to be connected but not connected (this paragraph is faintly intermittent, such as the writer's Longmen narrative, which has no way to change).
The elm willow is lush in the cottage, and the pine cypress is lush and rocky. The trees on the slopes are sparse, and the branches on the stones are sparse. The short trees are uneven, avoid a row, and the dense forest is full of trees, especially like to cross the trees. The dense leaves occasionally wither, suddenly add to the life, the new stem or raw erosion, more and more pale. The branches are embellished with leaves and join the army intricately, and the leaves are attached to the branches and are oblique and straight, trying to make the connection. Withered or due to the early and late hair of leaves, Shu Qu is mostly caused by the old childishness of drying. A book is interspersed and covered, just like a forest, and a forest is leaning on and multiplying it, just like the same book. The positive mark side is born with the potential to be able to penetrate, and between the flowers at the bottom of the leaves, the shadow is open to the good leakage. Through the shape of the shape and like long, the leak is fat and thin (the painting tree occupies half of it, the painting method, the metamorphosis is various, but for the creation of the gods. If you don't contemplate it, it's hard to make sense. This section of shampoo is full of subtleties. A book and a forest, the method of leakage, the secret of painting trees, the predecessors did not pass on. Now Mr. Egami sent it, which is endless).
The dry in the smoke is like a shadow, and the branches under the moon are colorless. The rain leaves are dark and dripping, and the wind branches are swaying. The skin of the veneer is like life, and the roots of the pan should be solid. The spring strip is beautiful, and the summer wood is in the shade. The frost branches and leaves are zero, and the cold branches are trivial. The table is upright and upright, and the shadows are intertwined. The ancient fir of the secluded rock is old and bizarre. The stones are sparse, innocent and rotten. The mountains are large and empty, and the trees are many and sparse. The sand meets, borrowing the trees to think it is deep, and the thin road passes diagonally, embellishing the barren forest and is far away. The sand is like drifting, dividing the water potential and recovering the village potential; if the trees are connected with the grid, the foot of the mountain is surrounded and the mountains are lined with mountains. The sand side of the water swings, occasionally borrow the stone defense; the peak is cloudy, but also allow the shadow of the tree (the intersection of the sand, there is a way to make a tree, but the idiot is the best at winning. The barren forest road, the Southern Song Dynasty Zhugong Wonderland also). The foothills of the forest are intertwined, the road is hidden in the roots of the mountain, the rock valley is hidden, and the realm is hidden in the trees. The dense trees are close to the mountain, and the roots are exposed, which can make the soil and stones distinct, and the trees are embedded in the mountains, and the slope bank is slightly moved, which makes the Ke Tiao different. The roots of the trees are not attached, because of the horizontal sky of the mountains, and the peaks are not connected, and they are sheltered by the color of the trees. The ridge of the peak is solitary, the grass and trees are feathers, the foot of the slope is flat, and the stone bushes are embellished. The tree is only skillful in dividing the roots, that is, several plants and the ground is separated; if the stone is wonderful in splitting the surface, although the scenery is different (the magic is passed on in the heart, not can be dictated).
Stone look at three sides, there are Gui Duan knife wrong, jade ruler silver bottle, incense case piano pier, insect and fish brick, covered with a hat of the cup, lack of squatting beasts, mussel shell snail body, bird cover rhino head of the strange state, must be separated from the image and seek; And the beauty of it is all in the decommissioning of pen and ink). The stone has the color of peeling fresh, and the soil has the appearance of paste. The tree is strong and clear, and the water is soft. The foothills drag the sand and the potential turns, and the back hides the trees and the realm is deep. The waterfall is long, and the rock is upside down. The original is handed back, and the air is open, and the cloud rock towers, and the mutual repair is long. The foot of the mountain is far away, and the water has no feeling near the foothills; the village is far away, and the trees are few and towering to the sky. The mountain is shallow, and the tree is not a high mountain. Don't make the sand first, back to the peak and then set; don't make the distant villa first, wait for the mountain to be empty and add slowly. Hanging flat stacked stones, that is, make mountains, low bank sand, then become Jinpu. The layers are like waves, and the stones are like floating. The water converges into a pool, and the two cliffs are forced into a waterfall. The width and narrowness are due to the stone moraine, and the danger depends on the rock ladder. There is no wind and the stream is flat, and the stone is turbulent. The bending is like a boil, and the waves are like soaring. The flow of factions is far and near, which is intermittent, and the difference between ripples and ripples is different from beginning and falling. The water is wide and the sandy shore is completely gone, and the hookah floats and the rivers and lakes are half lost. The line of Pingbo is written and the turbulent wrist is swirling. The waves are swift and the pen is complicated, and the waves are high and the pen is swinging. The mountain is separated by two cliffs, the trees are oblique and invoked, the water is double-banked, and the bridge winds to traffic (the five dynasties of the Northern Song Dynasty princes, multi-work painting water. Streams, rivers and lakes, painting methods are very different. Playing this is not a special way to take advantage of the situation, and the magic of the pen is played slightly).
The layout is based on the rules. The unity is established in one way, and the trial is open and closed. The size of the small landscape should be wide, and the size should be wide and the hills and ravines should be tight. Up and down the volume, hidden interception of the mountains, left and right of the width, spit and swallow the rock trees. One vertical and one horizontal, will take the shadow of the mountain-shaped tree; there are knots and scattered, and the realm should be known to open the mind (the painting method is not separated from the four characters of vertical and horizontal gathering and scattering, the so-called one yin and one yang is the way). Clever in the good stay, the whole shape is not in the way of improvisation, the circle because of the use of flash, the positive column and lose its wit. The scene in the eyes is present, and it is necessary to chase it urgently; the bottom of the pen is poor, and it must be quoted from other (the second language painting Zen Xuan must also. Those who know its understanding will meet it at dusk). Occasionally, it is natural, and it is artificially damaged or damaged; The clear road, from low near to high and far, the scenery is prepared, from simple and prepared. The small is to become huge, and the heart wants to be quiet; If there is a mountain in the eye, it can be a tree, and if there is water in the mind, it is allowed to be a mountain (there are four sentences in the eye, that is, the so-called self-confidence. Today's people paint, have no opinions in their minds, fill in the letter and pen, and even if they make pictures, they are angry. See this recipe for understanding the painting method).
To make a mountain, first seek the way in, and the source of the water is predetermined. Choose the water to pass the bridge, and set up the road. Divided into five elements and distinguishing the body, the peak is the same shape, and is familiar with geography; The tree has no surface, and does not know the hidden way; the mountain has few yin and yang, how can it know the secret of shading. The water is slow to guide and it is difficult to flow, and the tree takes root early and cannot be converted. If the waterfall slips with the eaves, it pours straight and ruthless, and the stones are like adobe, with few edges and bones. The slope is wide and the stone is huge, the lofty mountain is like a prickly tree, the road is straight and the sand is thick, and the distance is still close at hand (pay attention to the hills and ravines, only in the path and water mouth are placed in both places, and the reason of the hills and ravines is more than half of the thinking. This is a discussion of the defects in the painting, and the scourge is omitted. If you don't recognize it carefully, you will follow its drawbacks, and you will be at a loss). The shape of the ping hate barrel case, the shape of the mountain is tired of the melon edge. The ground is thin and the cliff is in danger, and the peak is high and the trees are strong. Near the mountains and flat fields, the wall is erected; away from the village and the trees, do not make the fence horizontal.
The tree is upright, and the woody is not the same as the herb; the oil is the color of the tree, and the branches are cut down. The peaks and mountains are majestic, the forests are not suitable for sparseness, the islands are lonely and clear, and the houses should not be mixed. There are not many foreign places, and the fields can only be played. The palace is lush and magnificent, and the temple view is clear and saggy. The house of the garden pavilion is secluded, and the house of the hostel is hotan. The fishing house is barren and cold, and the field is simple. The mountain dwelling is secluded and its doorway, and the village gathers dense well smoke. The work of boundary painting, no loss and conversion; freehand wonderful, quite good at vertical and horizontal (house painting method, the physique of each family is different. about imagery with a pen).
The quality of the house is not harmful, and the sand grass drama is not lost in the text. The snow is cold, and the rest is heavy for dyeing; The haze of the rain scene should be avoided, and the wind forest is mad. The fog is dark, the scenery is staggered, the autumn is cloudy and the spring haze, and the climate is difficult to relate. The predecessors had a title and then painted, when they did not paint and the intention was the first; today's people have a painting without a title, that is, the strong topic and the intention. In the imperial city in the clouds, the mountain dragon is coiled and the tiger is located, the spring tree in the rain, the house is in a row and the darkness. The fairy palace is a temple, and the cottage thatched hall is suitable for its feng shui. The mountain gate is open, the pine and fir forests are lined up, the water pavilion is strange, the rattan and bamboo are sparse and hanging. The flat sand is misty, the vast reeds are hidden, and the water of the village is dissolved, reflecting the chaos of the weeping poplars. The forest with the spring and the sound, the stone negative bamboo to obliquely pass. The grass is beautiful and fragrant, and the edge of Pu is secluded. The tide falls and the sand intersects, the water shines in a hundred ways, the mountains are cold and the stones come out, and the shadows of the trees are thousands. Love the opening of the scenery, and the night of the mountain and the land. Cebu is still comfortable, and the soft clouds are intermittent and continuous. The dangerous peak obstacle day, the chaos of the river. The sky is empty, the sky is empty, and the mountains are broken and the moon is closed. The snow is still green, and the smoke is far away. The sunset is long, and the clouds are wide. The surface of the ground is thousands, the high standard is inserted, the waves are counted, and the distant dai floats in the air. The hidden Xiuling is in the heavy mountain, and the Liqi Peak is in the side ridge. Two precipices and cliffs, overwhelming the river boats, and a dangerous building, passing through the rock waterfall. The lonely pavilion is covered with trees, and it is dangerous. The stream is so deep that the apes can't go down, and the walls are steep and the birds don't dare to fly. The waves crashed on the angry stones, and the bushes of trees hugged the flying beams. Thousands of peaks on the river are covered with snow, and isolated islands in the sea are floating in the clouds. Xia Wei Lin Gao, Yin Sheng Cave. The rain is sinking and the night is dawning. Scatter the autumn colors in the flat forest, and collect the summer clouds in the deep Xiu. The moon reflects the chic of the garden, and the wind is fluttering. The clouds hug the trees and the forest is sparse, and the wind hangs the sails and the shore is far away. The fence is hidden in the secluded stream, and the long pine leans on the steep cliff. Near the heron flying, the color of the early glow, the Changchuan goose, the shadow of Shen Hui. The water house turned over, and the sand bank bridge was broken. The mouth of the Piaopu is the gate of the tree. The stone house is suspended from the wood, and the pine hall is opened from the waterfront. Spring Luo Luo Path, Wild Wild Fence. The cold tung is sparse, and the mountain windows are messy. The firewood door is set and often closed, and the canopy window is tied and sent. The woodcutter is paid at the dangerous peak, and the fisherman is in the wild crossing. Imjin Stream stops on the ancient road. Guests are in the hotel, and pedestrians enter the city at dusk. The scarf cane is on the river beam, and it is saddled on the plank road by the brown. The head of the Jiake River is parked at night, and the poet travels in spring by the lake. The willows at the head of the building are flying, and the flowers are flying. Scattered riding autumn plains, lotus hoe Zhiling. Coats secluded dwelling, will love the hidden beauty of the forest, farmer's cottage, long according to the acres to perch late. Hold the book water threshold, you need to know the cold river in May, fishing sand rocks, want to see a river wind quiet. The cold pool is sunned, and the winding path carries the piano. Empty mountains, cattle and valleys. Looking for the sound of the spring and tiptoeing, love the pine color to support. In the clear stream, under the cliff. Climb high and look far away, near the water to send back. Lying down to see the Cangjiang River, drunk with red leaves. Songgen drinks together, and watches chess at the entrance of the cave. Seeing the Danjing and like a feather guest, looking at the floating slaughter and knowing the hidden monk. Looking at the waterfall and watching the clouds, even become independent, looking for a secluded visit to friends, and seeing two people (this paragraph discusses the scenes in the painting, all painters know everything. However, the pen and ink are sparse, that is, they are dedicated, and the real scene cannot be forced out. There is a view and no view. Viewers should not love the good words and phrases, when there is a place in the scenery).
People are not tired of clumsiness, but only noble and clear, and the scenery is not strange, and they must seek the truth. Dong Jufeng Luan, mostly belongs to the Jinling area, Ni Huangshu stone, Wu Yue Zhufang. Mijia ink method, out of the south of Runzhou City, Guo's graphics, on the right of Taihang Mountain. The rim of the Maha River, the peach source of the Guanjing. Huayuan braved the snow, camped Qiu Hanlin. The picture of the Jiang Temple is in Xigu, and the magpie is in Wuxing. The exploration of pen and ink must be a portrayal of mountains and rivers. Those who are good teachers learn from chemistry, and those who are not good teachers are soothing. Those who detain the law keep the number of homes, and those who do not abide by the law change their doors. Shuda became Zijiu, and Haiyue became Fangshan. The Yellow Crane is the right man, and it has its own profoundness, and the plum blossom ancestor is huge, and it is known as the strong. The elegance of the square pot and the essence of the pine and snow are all its clear taste, each into a family, and the realm is connected to the gods, and it is made in heaven. The painter has its form, but the charm is not born, and the scholar has his will, but the position is unstable. The seniors got rid of their habits and got carried away, and they were angry and clumsy and deceived others. It is to write a lot of work, the capital is difficult, after the pen and ink are understood, the grid system is difficult to achieve (the capital is divided, and it is difficult to do both.) For a hundred years, it has not been one or the other. Therefore, there are rules and regulations, and there is nothing to gain from the old. Or because they are smart, they will eventually lose their academic ability. The reason why it is not easy to make a name for a family is also). Ten pictures are like one, the hills and ravines in the chest are easy to be poor; one picture is better than one picture, and the smoke and haze at the bottom of the wrist are endless. The whole situation is distributed in the heart, and the abnormal is born under the fingers. The momentum is majestic, the square number is everyone, the charm is leisurely, and it is called a good product. If you don't forget, it will be famous, and if you lose it in a moment, it will be mediocre. The bottom of the mountain seems to pass by, that is, the reality, and if the forest can be walked into, it is pleasant. The forest houses are gathered between the surplus inches, and the peaks and mountains are thousands of miles away. Looking up at the mountains, there is no way to climb, looking down at the bushes, and I like to find many ways. There are no apes and cranes and the sound of them is heard, and there are turbulence and no traces of it. Close to the hook, scribbled can not be copied on the couch, distant description, vivid can make the lingering. The shades are overlapped, and the layers reflect each other, the complex and the simple are intertwined, and the turn is shaped (the painter's six methods, with vivid rhyme as the key. Everyone can say it, but no one can get it. When using pen and ink, it is all about seizing the vitality of creation. Only those who have a habit of smoke and hills will understand it. Otherwise, although he has been modeling the ancient method all his life, he will eventually be separated by a few dusts).
It is better to have no hierarchy and have a hierarchy, and those who have a hierarchy but no hierarchy are clumsy. The shape is flat, although there are many hills and ravines are not for work; At present, the real world is not a lot of strokes, and the vision is not in the whole picture. The scenery is in the grass, the taste is endless, and the scenery is good at the time of covering, and the view is more and more new. In the dense, self-and far-reaching; within the rate of ease, turn to see Benjuan (the most subtle part of the rhyme is also explained in this article. His arguments are subtle and his words are not empty. Scholars make Zen sentences word by word, tacitly understanding its purpose). The thickness of the mountain is the depth, and the water is still when it moves. The shadows in the forest, there is nowhere to camp; It is difficult to draw the empty book, the real scene is clear and the empty scene is present, God has nothing to paint, the real world is forced and the god is born. The location is aggrieved, and most of the paintings are redundant warts; the virtual and the real are born together, and the places without paintings are all wonderful. To point out the place where there is no painting, go one layer further, especially when you look for taste. People know that there are paintings where they are paintings, but they don't know that they paint everywhere they don't have paintings. The empty space of the painting is related to the overall situation, that is, the method of generating virtual and real things. There are many people who don't look at the empty space, and the magic is that the whole width is spiritual, so the cloud is wonderful).
If you gain power, you will operate at will, and you will be able to clean up everywhere if you lose power, and you will do your best to clean up. The push and pull of the potential lies in a few microses, and the condensation of the potential lies in the degree of phase. The painter is naïve, and his shape is not similar, so that the shape and model are not similar, that is, he is old and ridiculous. Rough or simple or called the pen, easy to enter the magic of the painting garden, clumsy seems to be not a painter, suitable for the interest of the master. Wearing a picture and looking for it as a hill and ravine, it is dull, seeing a hill and forgetting it as a picture is a god (the hill and ravines forget to be a picture, it is the aura of heaven and earth. The so-called art tour is passed on).
Cover the mountain to be similar to the light, no mud and faint and its fake; the tree state is fake to describe, do not limit the point and ignore the truth. The line of the hook is the rise and fall of the peaks and mountains, and the division of the hook is the mark of the soil and stone. Frustration is the popularity of hook splitting, and shallow and deep is the change of rendering. Void white is yang, solid dyeing is yin. The mountain col is heavily dyed, mostly shaded by shadows, and the mountain surface is empty, and the sun is mostly reflected in the distance. The mountain is divided into ridges, and the stone is faced with a heavy hook. The foot of the mountain is subdued and sideways, and the slope ridge is round and round. The hemp skin is empty and the mountains are empty, and let the long forest get it. The nail head is exposed and the stone is open, and the tree is clumped to support the root. The ink belt is dry and pale, and the pen is moist and moist, and the shade is baked. The lining is complex and halo, and the hook is simple and external. The hook is agile and seems to be broken, and it is the same as rubbing. Splitting but not staining, knowing the way of baking and dyeing; The pen is a fine one, leaving a blank mark to form a outline; the ink is dyed, and the traces are interspersed to save the hook. The roundness of the point is no different from the one, and the sunk and the dyed are strange. The diffuse place of the hook can be dyed, and the place where the dye is dyed is replaced by the dyeing. Counterstain in the hook, and the stone surface is ridged, and the stain is outside the outline, and the stone ridge is faint. It is not enough, and it is re-dyed to make its flower, and it is enough, and it is lightly dyed to give birth to its rhyme. The solution is moving and the hemp skin is quiet, and the rotten grass is hairy. The nail head is reckless in the wood, the long and the short are applied, and the watercress is splashed on the sesame seeds, and the small and big are easy to place. Cirrus clouds and raindrops are in various states, and the firewood and lotus leaves are divided. The axe is close to the writer, and the literati are steep, and the grimace is easy to get used to, and the famous hand is for it. There are chisel marks in the big split, and rust in the small split. The stone is hidden on top of thousands of layers, and the mountain is boneless and melts into one. The ash heap is the change of the alum head, and the stacking of cakes is the dust after the axe (from the ancient painters, each set up a door, all by the method of different. From the Tang Dynasty, the Southern and Northern Song Dynasty to the Yuan and Ming dynasties, its penmanship is like a square sheath and a round chisel that is difficult to enter. However, there is a coherent principle in it, so it can be proficient in one law, and get its change clutch. The painting methods of all schools are consistent, and there is no stagnation. Today's shelter is only in the can't specialize in one family, so all families have nowhere to enter. Looking at this theory, the law is detailed, the mystery of the ink is wonderful, the lack of the predecessors is filled, and the subtleties of the true six laws are also. In the painting, only the method is the most difficult, so it is appropriate to talk about it urgently. However, it is necessary to paint the Northern Song Dynasty, do not make a stroke into the Southern Song Dynasty law, paint the Southern Song Dynasty, do not make a stroke into the Yuan people's law, and draw the Yuan people, do not make it into the Southern Song Dynasty family law. Each family has its own court, so don't confuse each other. Only through its reasoning and its deviation, reading this can be suddenly enlightened).
There are many hooks and corners and vulgar life, and there is little rhyme. The pitch of the scorching is like a reed in the wind, and hangs like a dew grass; Even the hook with dyeing, the machine to the pen with the stone, like a mountain, the shape of forgetfulness. There are many kinds of points, and it is appropriate to use them. The circle is used to save, and the side is more used to stack. The bald edge is used to break the pen with a loose one. Throw the author's mang, press the author's sharp. Moisturizing, thirsty and scorching. Fine dust, coarse with falling stones. Light to break thick, gather and disperse. Complexity and simplicity are just fixed, and the chaos is due to the Xinghui (the shade is scattered and scattered, and the key to the law is to be used to participate in each family. On the wonder of coloring, in the following words). Danqing wins, but loses the true face of the landscape; the pen and ink are greedy, and the evil environment of the forest and hill is created. The strange shape is easy to make, and the work can be seen at a glance, and the ordinary scenery is difficult to work, and the workers never get tired of watching it. The ink rhymes with broken use, and the color is clear and traceless. The light flick is in the carboxy fiber, there is the wonder of turbidity and detachment, and the color hunting is difficult to ink and ink, and it has the name of Tibetan blue and Tibetan green. The color of the cover is thick, and the overuse is completely light, and the color of ochre is light, and the indiscriminate design is completely covered by ink. Coarse and floating, although rich and dry, shading gradually deepens, that is, light and even, and the meat is good. The colors are not the same, how can we know the changes in one color; one color is clear and obscure, and we should know the void spirit in the colorless place (this is said to change in one color, and it has created a wonderful world. As for the colorless, the subtle principle is more than the Tao). If it should be thick and light, it will be incomplete, and if it should be light and thick, it will not have enough rhyme. Learn the use of mountain wood, every more dirty, imitation of a peak of joy shallow silk, but also involved in the same. It is known that the bleak management, as if there is nothing, is melted in the mind, that is, the vermilion is mixed, or work or birthday, more than the image outside the pursuit of maintenance. Thousands of strokes are easy, when you know the difficulty of one stroke; one point or two points of work, the final prevention of more clumsiness. The breath of the mountains and rivers is quiet, and the restlessness of the pen is not still. The posture of the forest spring is secluded, and the ink is sparse and the posture is reduced (the painting is wonderful, there must be calmness.) The cover sweeps away the vertical and horizontal remains, there are no axe chisel marks, and the static condensation between the paper and ink. Tranquility is not talked about today. As for the stillness of the painting, its peak is high).
In the empty space of Yamakuma, the pen is empty, and when the shadow of the tree is faint, the ink turns into smoke. The pen uses ink skillfully, and the ink uses the author can. Ink with the pen as the backbone, pen with ink as the elite. When the pen is thirsty, the ink is scorched and crumbs, and when the ink is haloed, the pen melts. People know the looseness of grabbing the pen, but they don't know the looseness but not the slackness; people know the astringency of breaking the ink, but they don't know the astringency instead of drying. The ink is poured and the clouds are collapsing, and the ink is condensed, and the color is the same as the broken brocade. The pen has the different uses of the middle peak and the side peak, and it is more intentional and unintentional. The turn is popular, and the scales swim in the waves. The dots are staggered, and the falcon hits the flower and flies. The fractals of the oblique veins are the folded pen of the masterpiece Yanpo. The pecking can make the shadow sparse, and Ce Ying moves every church. The stone circle is like a crossbow inside, and the sand is straight like the flat Shi of Le. Therefore, the dot painting is halal, the painting method is originally through calligraphy, the wind god is super-easy, and the painting heart is compounded in the heart of the text. Express the hidden feelings, and send the elegant rhyme of the book. Occasional cooperation, a few ancients (this repetition of the eight methods to show people, to see the same origin of calligraphy and painting, it is really not easy to talk about the ages.) This Mr. Di's "Book Raft" and "Painting Raft" are also meaningful. The next four sentences of "Gao Yin" are especially the fundamental essence of painting, so don't read it lightly).
As for the characters, flowers, birds, beasts, insects, fish, crowns and costumes judge their times, and there should be experts in clothing patterns. Gu Pan thinks about his temperament, and his claws have no regrets. Spring and autumn calyx, flowers and leaves are all created, written as bright as floating its fragrance; Fresh scales swirl around the stream, and grass insects fly on the leaves, and the wind is swaying. Gu Wu Lu Li, Han Dai Xu Huang, the former number is good at, and the relics of Shizhen. Aid Fu Cai, made in the profound. Those who can do this can see it and realize it. There are many ways to paint, and none of them can be discussed. The combination of its artistic conception and the subtle charm of pen and ink can be made clear in the editor.