Step 1: Sketch - Ink - Fill the Pen.
1. Outline: Outline the general outline of mountains and rivers with ink lines.
Painting stones, often one hook and one draw. The use of the pen to draw the line is for the "bone", which plays the role of "life and death" for the picture.
"Brush outline, like words straight and straight". For the use of the pen, he pays attention to the center and attaches importance to the rotation of the pen. Occasionally with a flanker. He thought that the center was round and stable, so that the mountains and stones painted were calm and not frivolous. He asked to use the pen such as "house leakage", which means that the pen can be retained, so that the line is not frivolous. The so-called "folding hairpin strands" does not give rise to the corners in vain, and it requires heavy painting, such as "falling stones in high mountains". The lines are clear from beginning to end, and the meaning is to the pen.
Huang Binhong sketched one by one, in addition to painting rocks or hills, but also used to draw the general trend of the mountain. The sketch is also drawn in this way. A hook and a pull, not only to outline the shape, but also to outline the potential, but also to reflect the intention. For those who are good at painting, this is the beginning of a game, and the big thing is behind.
2. Inking: On the basis of outlining, each stone and each mountain are clearly distinguished, and the inking is divided into wet light ink and dry light ink. The so-called clear distinction is to divide the size of the stone block and mountain shape, and the second is to divide the distance of the space of the landscape, trees and stones, so as not to make chaos.
The inking is mainly light ink, but thick ink can also be used. When inking, you must have the overall situation in mind and see the whole picture, otherwise it is easy to lose one or the other, and lose the big for the small. The inking is divided into wet light ink and dry light ink. These light inks are different from dry and wet, and the effect is also different, so they should be used according to the actual situation of the same object. For example, dry light ink can be used near mountains, while wet light ink can be used in distant mountains. If you paint the foot of the rocky slope with wet and light ink, then the dry and light ink can be used to paint water. On the other hand, if you use dry and light ink to paint the foot of a mountain slope, wet and light ink can be used to paint water. That is to say, it is the same as painting water, but it depends on the actual situation. In terms of the change of ink color, the contrast between dry and wet can be used flexibly.
3. Fill the pen: After outlining and inking, make up the pen everywhere and improve it. In addition, when the painting produces "more flesh and less bones", the brush is perfected.
Step 2: Dotting ink or dotting color -- ink breaking color and color breaking ink -- splashing ink (color) and spreading water -- scorching ink and ink layer
4. Point ink or color: Yellow inscription painting cloud: "Thin but not fine, rough but not strong, qi in the pen power, rhyme in ink color, Northern Song Dynasty painting, rich Huazi, six methods both, layer by layer of point dyeing, often accumulated hundreds of times." "Dotting also plays the role of dotting points, and at the same time it is used to replenish qi. Dotting should be virtual rather than real.
After refinishing the brush, Huang Binhong sometimes stands, makes a careful observation of the overall picture, and then dots ink or color when he has a score in his heart. The wonder of Huang Binhong's landscape paintings often comes from his "points". Huang Binhong used it, thousands of points, overwhelming, the bald pen used, such as dancing on paper, dots, flat dots, sharp points, plum blossom dots, pepper dots staggered use, so as to make a game of landscape in the "ink group", so that a game of landscape is extraordinarily refreshing and endlessly charming.
Huang Binhong dotted the landscape paintings, and also played the role of "using dots as a slur". When he thinks the ink is too light or too monotonous, he adds points along the gestures, which not only adds to the ink but also replenishes the qi, a method that he only realized at the age of 70.
Regarding the ink spots in Huang Binhong's paintings, some people think that he is too dark, and some people think that his heavy ink is caused by his eye disease in his later years, which is a misunderstanding. He suffered from cataracts at the age of eighty-nine, and in the autumn of his ninety-year, after a doctor's operation, most of his vision was restored.
For coloring, Huang Binhong uses ink to point up the color in a dotted way, so it is called "dotted color." Regarding the "point promotion", Huang Binhong said that it can be three or five points, or tens of millions of points, but there is one thing, "the point should be virtual but not real". There should be a spiritual void between the points, even if it is a dense point, there must be a spiritual space, and the cause should not be glued to the point. There are many kinds of points, among which there are "drill points", which are pointed to the iron nails of famous places and cannot be pulled out; there are "floating points", which are loose and flexible when they are pointed, and there are "azimuth points", which are helpful to the momentum. The potential is up, down, or left or right, and the point should follow the trend. In short, the point of Dai Shi Zhu should not be "unsatisfactory", detached from the actual needs of painting, nor "bed on the bed", all in order to better express the characteristics of mountains and rivers.
5. Ink breaking color and color breaking ink: The use of this color-breaking and ink-breaking method in creation, the technical need to be refined is one of them, and the key is to use it appropriately or not. Huang said: "The ink dots break through the color and the color penetrates the ink, the feeling is different, the former is sexual, and the latter is strong. Huang Binhong's so-called "ink breaking color, color breaking ink is strong". How to understand and how to use it? Pan Tianshou said: "If a picturesque and lush mountain is green, it is advisable to use ink to break the color; otherwise, if there is more verdant, there will be less lushness." Another example is to paint pine, painting the pine between the valleys in the shade of the mountain, the pine needles add color, it is advisable to use color to break the ink, and to paint the sun-drenched pine on the top of the mountain or between the main roads, it is appropriate to use ink to break the color. Sometimes, Huang Binhong mixes the ink breaking color with the color breaking ink, which seems indistinguishable, which is another method. Some of his works are difficult to distinguish which is the color and which is the color. However, as long as you taste it carefully, you can realize that it is a kind of "lawlessness and lawlessness" that "follows the rules and goes out of the rules".
6. Splash ink (color) and spread water: make the opposition of dry and wet, dry and moist, thick and light, far and near, virtual and real unified in the picture. It is like putting a layer of tulle on the face of the little doll, which not only makes people vaguely see the eyebrows, nose and nose of the doll, but also gives the doll's eyebrows, eyes and nose are unified on the plane of the tulle and become a whole. Huang Binhong splashed ink, which is nothing more than to strengthen the overall sense of the picture. The method of splashing ink also plays a certain role in organizing and regulating, such as the mountains and rivers have a dense atmosphere, such as clouds and smoke have a physique, and the mountains in the south of the Yangtze River are moist, and splashing ink can help. The Fuchun mountains he painted were made with splashed ink, and because of the water foot, the picture was clear and shiny.
7. Jiaomo - Su Mo Li Level: Use Jiao Mo Su Mo to strengthen its bones. The ink is burnt, and the pen is thirsty and thick. If the pen is thirsty and light, it is called scorched. Use the scorched ink dry pen, and be good at wetting it, so get the "dry and cracked autumn wind moist spring rain" wonder. However, if the use is not good, and the dry and moist are not unified, the picture will have the disadvantages of "if the ink is too dry, there will be no rhyme, and if the ink is too moist, there will be no literary reason".
Step 3: Spread the water - Su Mo dots to raise the spirit
8. Water paving: mainly used for gas connection. Instead of clear water, the water used in the pen wash basin is used. Huang Binhong's painting, the difference between splashing ink and spreading water is that it is just that the water is like painting "the veil on the baby's face", which is thinner and more transparent than the splashing ink.
9. Su Mo is refreshing: Su Mo, that is, the painter will save the ground ink and ink, which is not wet or completely dry, and is close to mucus. Use it sparingly, use it as the finishing touch, and raise the spirit of the painting. As for how many points and where they are, it depends on the situation. "Thick stay", thick as paint. If you use good ink for the ink, it will be black and shiny. "Light stay", which is caused by the degumming of old ink, is painted on the paper, the ink stains sink on the paper, and there are water stains next to the stains, which looks like "light ink". Sometimes, thick and light stays can be mixed. Ink can also be used as a color, when the ink dots are dyed layer by layer, use a few points of ink, more eye-catching. Painting the smoke and fog, Huang Binhong is dyed with a little garcinia cambogia with Su ink, and then spread with water, after melting, the effect is immediately miraculous. "The world is wide in the black ink group" can also be used to describe the ink characteristics of Huang Binhong's landscape paintings.
It is not easy to use the ink, because when the ink is dry, the pen has been distinct, and the ink can not be blended if you want to add the ink, and if you fail slightly, you will be exposed. In addition, there are also the sayings of stained ink, full ink, water breaking ink, and bright ink. For example, when the ink is stained into the painting, the ink is often thick and black and the four sides are faint, so that it is naturally round and jumps on the paper. Bright ink, "every time in the thick ink of the painting, and then accumulate a layer of ink, or point it with extremely thick ink, after drying, here is extremely black, and the white place is contrasted, especially its black, is the bright ink." The bright ink is wonderful, and the spirit of a game of painting may be rejuvenated. ”
In traditional Chinese painting, brush and ink carry a strong cultural connotation and unique aesthetic value, and have become synonymous with its artistic methods, art forms and artistic styles. Chinese painting emphasizes that ink is the bone of the brush, the pen is the spirit of the ink, and the brush and ink are the surface and the inside, complementing each other. Different brushwork styles often become important hallmarks of the genre of non-painting. From the history of landscape painting from the Tang, Song and Yuan dynasties, every change in the style of landscape painting is mainly reflected in the brushwork.
Like the famous artists of the past dynasties, Huang Binhong, as a master of landscape painting, not only has his own unique characteristics of brush and ink, but also puts forward many creative theoretical views in brushwork and ink method, the most important of which are "five kinds of brushwork" and "seven kinds of ink methods".
Huang Binhong's five brushstrokes are "flat, staying, round, heavy, and changing"
The first is "flat": it refers to the smooth movement of the pen, the strength is even, the weight is carried out, the rhyme is through, there is no jump, no floating. Huang Binhong believes that the pen should be like a cone to draw sand, the beginning and end are clear, the pen is delivered, and there is no weakness.
The second is "circle": it refers to the round and thick lines, full of elasticity, the tree is not straight, and the stone is also more round strokes. According to Binon, it refers to the application of the circle of calligraphy to painting. Brush outline, such as the word horizontal and straight, the pen with a front, the pen turns, the seal method from the beginning to the end, the end of the connection. It should be like "folding hairpin strands" and "lettuce strips", continuous circling, pure and natural, and the brushwork lines are graceful and graceful to maintain rigidity, round and beautiful and not soft. And further pointed out that Dong and Ju Pi Ma used the pen to round the center of the pen, and the harmony was unhindered and the corners were eliminated.
The third is "stay": that is, the pen should be controlled effectively, can be contained, such as "house leakage", accumulation points into a line, not slow, the pen has a review, up and down the reflection belt, no trace of the beginning and end, the line is calm and thick, and the force can carry the tripod. He also pointed out that the Southern Tang Dynasty Li Houzhu's "Golden Wrong Knife Method" and Yuan Xian's Shuwu Brushwork in the Wheel Shop Quagmire are both "staying" solutions.
Fourth, "heavy": the pen should have a strong sense of strength and heaviness through the back of the paper, such as "high mountains and falling stones". And specifically speaking, the pen should rustle and sound on the paper, and enter the wood for three points.
The fifth is "change": it is a comprehensive change and mutual mixing on the basis of flat, round, retained and heavy, and the ancient method is beyond the ancient method, such as light and heavy, lifting, frustration, square circle, slow and urgent, etc., to express their emotions in the change.
In terms of ink method, Binong summed up seven methods, namely, thick, light, broken, accumulating, splashing, burning, and staying.
The first is the thick ink method: that is, the ink is mixed with less water and the color is darker, which is used to express the dark side, depression and near scenery of the object. Thick ink should be thick and moisturized, lively, with the tip of the pen full of thick ink after the quick drawing, not excessive, too much easy to stagnation, not vivid. Huang Binhong quoted Dongpo saying, "If it is dark but not light, it is godless." It should be made clear and not floating, as exquisite as a child's eye. ”
The second is the light ink method. The ink is mixed with more water and has a lighter chromaticity, which is used to express the glossy side, protrusion and distant view of the object. There are two kinds of damp and dry, and the wet and light is the pen first dipped in water, and then dipped in a small amount of thick ink, slightly blended and then sketched. Light ink is easy to produce the disadvantages of weakness and godlessness, so the use of light ink should be clear and clean without slag, and it should be "light but not superficial". For example, Li Cheng and Dong Beiyuan are masters of making good use of light ink, which are used to express the haunting of peaks and mountains, the obscurity of clouds and mist, the lush blue color, the salty business, the river bridge and the fishing pool, and the Zhu shadow, etc.
The third is the ink breaking method: that is, the expression method of using different water amounts and ink colors to overlap successively to produce a new ink color effect. There are usually shades and shades, dry and moist, ink and water, ink and so on. This is done when the ink will be dry to take advantage of the natural permeation of the water. The direction of the pen should also pay attention to the change, the straight pen with the horizontal pen to penetrate it, and the horizontal pen with the straight pen to penetrate it. The characteristics of the ink breaking method are that the pen marks at the infiltration are hidden and interpenetrated, which is purely natural flow and no carving, and has a rich, gorgeous and natural beauty.
The fourth is the ink accumulation method: a method from light to thick, repeatedly staggered, and layered. The characteristic of the ink accumulation method is that it is necessary to wait for the previous ink to dry, and then paint it a second time, so that the ink color of the picture can be distinct, vigorous, and rich. With the ink accumulation method, the pen should be flexible, whether it is used in the center or the side, the pen line should be staggered, gathered and dispersed appropriately, and must not be stacked rigidly. Pay attention to the difference between the first ink color and the second ink color, so that you can see the pen marks, which must be integrated and have handwriting ink marks to be found. A good ink accumulation method always maintains the luster of the ink, and the more ink accumulates, the more brilliance it will have, and if the gray dead ink appears after drying, the ink accumulation method will fail. Bin Weng believes that the ink accumulation method is the most prepared for the Mi Yuan Chapter, with muddy dots and clusters, self-light and thickened, and the ink is refreshing. Hook the clouds, with the accumulation of ink to supplement its clouds. Ink painting, ink does not hinder ink, boneless method, color does not hinder color, natural color is colored, ink is ink". Among all the ink methods, the ink accumulation method is the most commonly used by Huang Binhong, and it is also the biggest feature of his works.
Fifth, the splash ink method: refers to the drawing method of large ink volume, large area and large brush. This method is full of ink and brush, the water color is drenched, although it is dry and wet, there is a sense of naturalness and strength, but there is a great chance and randomness, and it is easy to have both reasonable and unexpected effects. There are two ways to splash the ink, one is to splash the ink directly on the paper, and then add appropriate dots with a pen according to the naturally dizzy ink. The other is to splash ink with a pen. This splash method is easy to control.
Sixth, the scorched ink method: the pen is dry, sluggish, and dignified, and very expressive. The key to the use of coke ink is that the root of the pen still needs to have a certain amount of water, and in the squeezing of the pen, the water will seep out of the coke ink to achieve the effect of moisturizing in the coke. It has to be slow, so it is old and spicy. However, the coke ink should not be used more, and the use of the wet pen is compared with the rhyme of the scorched ink, so that the painting is dry and cracked in the autumn wind, moist with spring rain.
The seventh is the ink method: that is, the ink every other day or several days, dipped in water on the rice paper to present a degumming ink rhyme method. The infiltration of Su ink on rice paper has more of a sense of pen and ink than that of new ink, and has an ethereal and simple beauty. Su ink is often used for the last ink, and when used well, it can play the role of "finishing touch". However, because there is dregs in the ink precipitation, it is easy to dry and dirty if it is not used well, so the use of ink requires a high level of pen and ink effort. Huang Binhong is the best at staying in ink, and every time the ink is thickened in the picture, it is used to make the ink darker and brighter in the black, so as to strengthen the contrast between black and white and make the picture more radiant.
Huang Binhong believes that there are trade-offs between the seven ink methods in specific applications. He said: "Seven kinds of ink are used for painting, which is called the method of preparation, and secondly, five kinds must be used, at least three must be used, and less than three cannot be painted." ”
Bin Weng is the master of the use of the "five strokes and seven inks" method and everyone, especially in his later years, he painted with a large seal brushwork, heavy and dignified, vigorous and vigorous, spicy and clumsy, calm and strong, not sabre-rattling, not crazy and weird, showing a kind of inner beauty. He flexibly alternates the use of various ink methods, especially breaking ink, scorching ink, accumulating ink, integrating water method, stained ink and other techniques, heavy and dense, layers are deep, miscellaneous but not chaotic, clear in the chaos, clear in the chaos, clear and thick, black and shiny, beautiful and beautiful, natural and natural, refreshed. His paintings are not only strong and strong, like a rustle and sound through the back of the paper, but also have a strong three-dimensional sense of the pen with smooth ink, round and heavy.
Wang Bomin once wrote of his teacher: "When Huang Binhong paints, sketch first. And then he wiped it with a dry pen, and his kind of rubbing had the effect of being both a rub. After rubbing, either splash ink or use ink dots, the method is different. His changes after the age of 80 are mainly in the thick ink and the light ink. When he breaks the light ink with thick ink, he adds the ink, and after the ink dries slightly, he dry rubs it on top of the ink, and then adds ink dots, which is the so-called 'layer by layer'. This kind of accumulation can keep the ink visible and layered, which is extremely difficult to do. ”
Strictly speaking, the "five strokes and seven inks" method is not original to Binweng, and has been used by many predecessors. However, it was he who first summarized this set of methods into a system theory, and brought it to the extreme in practice, reaching the realm of transformation, thus forming a new style of painting that is dense and thick, and rich and rich. In short, his "Five Brushstrokes and Seven Inks" method has provided theoretical support and practical guidance for the creation of the realm of Chinese brush and ink, and has had a far-reaching impact.
The source of the picture and text is the network, and the copyright belongs to the original author!