Rare to see, the traditional white painting technique - eighteen strokes [gossamer drawing] [iron line drawing] [string drawing] [cloud flowing water drawing] [locust sketch] [nail head rat tail drawing] [mixed drawing] [maple head nail drawing] [Cao Yi drawing] [folding reed drawing] [willow leaf drawing] [bamboo leaf drawing] [battle stroke] [reduced stroke] [dry wood sketch] [earthworm sketch] [olive sketch] [jujube core sketch]

Chinese painting has a long history and has formed a unique technique in the long-term development process. Among them, the hook method is one of the most basic techniques of Chinese painting, which refers to the outline of the object image with a pen line, also called the drawing method, which is called line drawing in the brush stroke.

Line modeling is a feature of traditional Chinese painting, whether it is figure painting, landscape painting, flower and bird painting, it is indispensable to outline objects with lines. Ancient painters summarized various line drawing forms into eighteen techniques, called "eighteen strokes", as a basic program for teaching line drawing techniques. Of course, eighteen drawings are not only the basic painting methods of figure painting, but also the basic techniques of flower and bird painting.

　

Gossamer drawing is also called gaogu gossamer drawing, its lines are purely drawn with a sharp circle and a uniform mid-edge pen tip, there are ups and downs, smooth and free, appearing fine and long, rich in fluidity, painting characters such as spring silkworm spit silk, posterity also called "spring silkworm spit silk drawing". The lines used in Gu Kaizhi's "Roselle Futu" and "Female Shi Zhentu" are continuous, slow and natural, with a very homogeneous sense of rhythm, which is considered to be a typical gossamer drawing. Later, the lines painted by Cao Zhongda, Li Gonglin, Zhao Mengfu and others also belonged to this form of line drawing. This smooth, rounded, smooth and stretched depiction is suitable for expressing the image of literati bachelors, aristocratic women, and ladies.

Depicted with the round and strong pen of the center, there is no trace of weakness, and its starting pen has a slight meaning of returning to the square fold, such as bending the wire ring, and there are slight traces of depiction in the circle. In the works of Gu Kaizhi, Yan Liben, Li Gonglin, Wu Zongyuan and others, there are all characteristics of "iron line drawing".

In Yan Liben's "Emperors of past Dynasties" of the Tang Dynasty, the costumes are outlined with a thin pen in the center, and the pen gesture is turned just and straight, such as a cone and skeleton stone, evoking a sense of strength and strength. It embodies the strong bone strength in the calligraphic pen. This depiction was an important technique used by ancient painters to express hard clothing.

It belongs to the same type of depiction as the gaogu gossamer drawing, the center hangs the wrist with a pen, and the lines drawn are thicker and more flexible than the gaogu gossamer drawing, just like the silk strings of ancient Chinese plucked musical instruments, and the five generations of Zhou Wenjie are good at using this method. In order to emphasize the soft silk texture of the clothing pattern and the posture when floating vertically, the center is used to slowly draw in the process of stroke, and its line is straight and straight, and its purpose is to show the pleats of the silk skirt more realistically.

For example, the lines of the dress pattern and skirt in Zhang Xuan's "Trick Painting", Zhou Xuan's "Fan Lady Diagram" and "Tuning the Piano Sipping Tea Diagram" are the models of string drawing. Sometimes, in order to strengthen the sense of weight of some skirt parts, the painter uses the pen to vibrate during the brush line, and the result is that the lines resemble a cabbage, which plays a role in strengthening the change in the thickness of the lines.

This depiction should be centered with a pen, the brushwork is like a cloud flowing water, lively and flying, up and down. This method is most typical of Li Gonglin's depiction. In the Yuan Dynasty Tang Yuan's "Painting Book", it is said: "(Li Boshi) only copied the ancient paintings colored with silk, and the brushwork was like the flowing water of the clouds, and there were ups and downs. "For example, Li Gonglin's "Diagram of Exemption from The Neck", the flag waving in the wind and the soft blouse on the soil soldiers, the lines are smooth, the pen is fresh, like the clouds flowing water, and the scroll is free. Another example is his "Wei Mo Yan Jiao Tu", the lines of the clothes of the characters drawn are like clouds and flowing water, coupled with the change of ink color in the painting, so that the characters in the painting show a holy and dusty style.

Also known as Lan Ye Drawing, it was created by Wu Daozi, a famous figure painter of the Tang Dynasty, and the thickness of the lines cannot be changed endlessly to express the "high side deep oblique, curled streamer trend", which is a unique creation realized by Wu Daozi on the basis of the "dense body" style of "iron wire drawing" of Gu Kaizhi and others. He turned the brush of wild grass into a new method of character painting, reflected the change of lines in the light and heavy press, and appeared vivid in the dense and random, like a fluttering orchid leaf, showing the flowing style of the characters, known as "Wu Belt Dangfeng". For example, the Song Dynasty's famous painter's "Sending Son Heavenly King Diagram", inheriting Wu Feng, the clothing pattern is rough and simple, the strength is smooth, the frustration is like a turn, and it has both freehand brushwork, which is vivid in the dense and casual, showing the inner spiritual strength of the gods, goddesses, warriors, and lux in the paintings.

The pen drop is like the head of the iron nail, the line is nail-shaped, the line pen is closed, and it is lengthened in one breath, like the tail of the rat, the so-called bald tail tip, the head is heavy and the tail is light. For example, the stripes in Li Song's "Cargo Lang Diagram" and "City Bear Baby Drama Diagram" in the Song Dynasty adopt the sharp brushwork of the center, and the linear front is fat and sharp, like a nail head rat tail. Wu Zongyuan's "Chaoyuan Immortal Battle Map" of the Song Dynasty uses a solemn pen, rigid and simple, the clothes flow freely, giving full play to the expressiveness and decoration of the lines, and the paintings of the heavenly kings, luxes, and fairies all show the human condition. Qing Dynasty painter Ren Bonian also likes to use this kind of depiction to express the boldness and exuberance of his pen, reflecting the style characteristics of freehand, such as his "Figure Diagram" also fully reflects the characteristics of nail-headed rattail painting.

It is made of light ink and thick ink, hence the name. When depicting the object's clothes, it is often used to outline the lines of the clothes with a light ink brush, and then use a darker ink color combined with the line surface to break the dye, forming a change in the ink color level. In fact, it is already the processing relationship between the color block and the line, rather than just the simple line pen problem. For example, min zhen's "Eight Sons Guan Lantern Map" in the Qing Dynasty, its painting method is first outlined and formed with light ink, the lines of the characters' clothing lines are overlapped layer by layer, and finally awakened with thick ink, which is also a method often used by general painters when drafting. Sometimes, the light ink line is formed first, then the thick ink is used to wake it up, and finally the ochre is used to wake up the pen in or around the original ink line, which not only strengthens the arbitrariness of the line, but also adds to the thickness of the line and the formal beauty of the line.

Its pen is strong and strong, simple and simple, bald and old, emphasizing the performance of bone strength, like a thin wooden stake nailed to the ground, and the nail head and rat tail depiction have similarities and appear short and thick. This line drawing technique was already very popular in the Song Dynasty, when Ma Yuan, Chao Shouzhi and others made good use of this method, and once became the usual technique used by painters to express literati hermits at that time. For example, Ma Yuan's "Statue of Kong Qiu" adopts a bald and thirsty brushwork, with a thick, strong pen and ink to express the harder hemp fabric, showing a powerful turn in the middle of each line, and slightly contracting when closing.

According to legend, Cao Yi was created by the famous painter Cao Zhongda of the Northern Dynasty, influenced by the Indian art style introduced at that time. Its lines are mainly straight with a pen, the texture is calm and round, the lines are fine and worked, close to the body, as if they have just walked up from the water wet, so it is also called "Cao Yi out of the water". In the Northern Song Dynasty Guo Ruoxuan's "Pictorial Insights and Stories", there is a record of "Cao Yi out of the water": "Cao Zhi's pen, its body is thick and folded, and the clothes are tight and narrow". It contrasts with Wu Daozi's style of "Wu Dai DangFeng", enriching the line drawing technique of Chinese painting. For example, in Wu Bin's "Five Hundred Luohan Diagrams of Linli Gonglin" in the Ming Dynasty, the lines of luohan clothes are dense and close to the body. As it is said in the "Painting of DianshiZhai Cong": "With a sharp pen, its body overlaps, and the clothes are tightly worn, like earthworms." This kind of line is also reflected in the works of Ding Yunpeng, Chen Hongshou and others in the Ming Dynasty.

The lines of the clothes drawn by this method are relatively sharp from the beginning to the end, and when the pen is turned in the middle, due to the increased pressure, it is shaped like a broken reed leaf, hence the name. When painting reeds, the speed of the pen should not be too fast, too fast is easy to flow in the rough rate; it should not be too slow, too slow is easy to stagnate the stroke. While sketching and supplementing with light ink for rendering, on the one hand, it is conducive to enhancing the three-dimensional sense of the clothing pattern; on the other hand, it can also alleviate the sense of tension and stiffness caused by the intense turning of the pen. For example, Li Tang's "Cewei Tu" in the Song Dynasty.

The lines drawn in this style are like willow leaves, and slightly shorter than the orchid leaf drawing, light and flexible, and Ana is colorful. "Dianshi Zhai Cong Painting" Yun: "The head of the nail is not angry under the pen, and the heart and hand are corresponding and like willow leaves." This depiction is suitable for expressing light and soft clothing. For example, in Zhu Zhanji's "Wuhou Gao Lying Figure" of the Ming Dynasty, the characters' clothing patterns are mostly depicted with willow leaves, and occasionally longer lines are drawn with orchid leaves, so that the whole picture presents a fresh, flexible and light beauty.

Evolved from the ink bamboo painting technique of the Song Dynasty, it is named after the lines that resemble bamboo leaves. The Painting of the Dianshi Zhai Cong says that bamboo leaves are depicted "lying horizontally with a pen, and are fat and short, like bamboo leaves." In the depiction of the character's clothing pattern, the leaves of bamboo, willow and reed are very similar in appearance, and can only be distinguished by the changes in the weight, rigidity and length of the pen under the wrist when depicted. For example, the clothing pattern in the "Li Tu Nan Tingsong Tu" painted by Yu Zhiding in the Qing Dynasty, the ups and downs of the pen are obvious, and the thickness of the lines changes greatly, much like the bamboo leaves fluttering with the wind, flowing and lively.

Also known as the water pattern of the war pen, there is such a record in the Song "Xuanhe Pictorial Notation": "Zhou Wenji, Jinling Jurong people also ,...... Good at painting, thin and hard to fight." The phrase "skinny and hard battle" can be regarded as the original basis for the water pattern drawing of the war pen. Zhou Wenjue's "Heavy Screen Chess Diagram" paints the scene of the literati doctor playing chess at that time, the characters in the painting, the brushwork is simple and fluent, and the lines of the clothes show a sense of twists and turns, which is basically consistent with the records on the painting.

This is a fast-moving, simple-lined drawing method. It is characterized by a flanking line brush, and the lines drawn are both general and concise, but also full of variations, especially when the pen speed is fast, especially its pen strength is strong. The more typical work is Liang Kai's "Taibai Xing yintu", painting the situation of the poet Immortal Li Bai walking and chanting, in addition to the head and facial features with a thin pen, the dress is drawn with a large pen of four or five strokes of light ink, and the longitudinal brush is sprinkled, and the poet's expression when chanting jumps on the paper. Liang Kai's subtractive line drawing pushed the creation of Chinese objects to a new level. After the Song Dynasty, Liang Kai's stroke reduction inspired some literati painters and had a profound impact on Japanese painting.

There is not much difference between dry wood and subtractive strokes in the use of pens, but the former is more thirsty for pens, and the latter is used both dry and wet. For example, in the Song Dynasty Gong Kai's "Zhongshan Travel Map", the stripes of Chung Kui are drawn with a biased edge and a thirsty pen, and when the line is forked, it will also produce a flying white effect, just like dry wood hanging high. Ming Dynasty painters often used this kind of depiction, such as Wu Wei, Zhang Lu, Zhou Chen and other paintings in the figures in the costume of the line basically belong to this type.

This kind of drawing requires the integration of the seal calligraphy into the painting method, like the seal book round and even brushwork, and the outer soft and inner rigid lines to express the character's clothing pattern. For example, in Ding Yunpeng's "Supplemental NaTu" in the Ming Dynasty, the ink lines in the painting are beautiful and simple, the lines are simple, the fine strength is straight, and the characteristics of the outer soft and inner rigidity are well reflected.

The olive painting is extremely light from the pen to the end, the head and tail are thin, the middle is heavy, and the painting is like a olive fruit, hence the name. Zhou Lujing and Wang Yu believe that this method was created by Yan Hui, such as Yan Hui's "Iron Abduction Immortal Statue", the lines of the clothes are drawn with a vibrating pen, the head and tail are thin, and the lines in the middle are as thick as olives.

The jujube core drawing is drawn with a large sharp brush, although similar to the olive drawing, the rhythm of the line is softer than that, so the line is more free. The jujube core drawing uses a large brush stroke, and the middle turn is abrupt and round, in the shape of a jujube core. Due to the sharp turn of the line, the natural bulging of the middle section, and the short line, the jujube core drawing is more suitable for expressing the texture of the linen. For example, jinnong's "Chung Kui Tu" in the Qing Dynasty is a typical jujube core depiction.