Mainly include hemp cracks, raindrop cracks, cirrus cloud cracks, solution cracks, ox hair cracks, large ax cracks, small ax cracks, etc.; those that represent the surface of the tree body include scales, rope cracks, etc. Hengchun et al.
Phi Ma Cha: It is composed of uneven and soft strip-shaped ink lines. The pen should be used flexibly, and both chapping and rubbing should be used. Pay attention to the rich changes in density, dryness and wetness. The one with a long pen line is called Long Pi Ma, and the one with short pen line is called Short Pi Ma. This kind of draping method is often used to express earthy mountains or loose rocks.
Yuntou Chun: The pens are often bent and circuitous, embracing towards the center. For example, "Xia Yun has many strange peaks", so it is called Yun Touzhan. This kind of imitation was created by Guo Xi, a landscape painter of the Northern Song Dynasty. His landscapes are looming with mist and clouds, with strange peaks and changing peaks, "unique for a moment".
Raindrops, also called doubanpi, are short, long point-shaped strokes, often drawn with a center front and a side front. It can express the vigor and thickness of mountains and rocks. A successful example of the use of raindrops in the history of painting is Fan Kuan of the Northern Song Dynasty. His wrinkle method is known as the "gun brush", and his landscapes have a unique style of "rich peaks and mountains, and strong momentum."
Lotus Ye Chao: The Chai pen bends downward from the peak, shaped like the veins of a lotus leaf, hence the name. It is used to express the hard stone peaks. After natural erosion, deep cracks appear in the rocks when you look at Huangshan from a distance. When the lotus and lotus cores are at their peak, you can see the effect of leaf-stealing in nature.
Folding the belt: use the side edge to move to the right, then turn and move horizontally, and move to the left to reverse the edge. Go forward, then turn downward. The ink lines drawn are like "folded belts", so this method is used to express the structure of calcite and aquifer. Ni Yunlin, one of the "Four Masters of the Yuan Dynasty", likes to draw folded belts. , drawn with a "thirst pen" (the tip of the pen contains very little water), it is ethereal and graceful, and has great artistic charm. Jie Suo Chao
Mi Dian Chao: It uses horizontal dots full of ink to densely dot the mountain. Splashing ink, breaking ink, and accumulating ink well can best express the scene of changing clouds and mist after the first rain in the Jiangnan landscape, and the confused smoke and trees. Mi Fu's dots are broad, called rice dots, and the dots painted by Mi Youren are abbreviated. Small, called millet dots
Ink block chapped: draw large pieces of ink, dip in ink, the pen must be spread out, the root of the pen should be applied firmly, and the starting point should be more attached to the edge of the mountain rocks or trees, and continue along the way. The strokes should be made quickly, like a gust of wind and rain, and should not be stiff. The edges of the ink marks should be furry so that they can be used to decorate other objects, such as rocks, trees, etc., so that they can be less exposed. The traces, even if nothing else is painted, are clouds at the edge, and it is better to loosen the hair to get the effect of steaming clouds and rosy clouds. "Expand the clouds and clouds: one of the traditional techniques of Chinese landscape painting. It is a chapping method that evolved from "Phima Chap" and "Jiesuo Chap" by Wang Meng in the Yuan Dynasty of my country. This chapping method is as thin as a coil of silk and as thick as an ox hair, so it is named after it. This method focuses on expressing the dense vegetation and lush green scenery of the mountains and rivers in the south of the Yangtze River. . Among them, "Summer Mountain High Hidden Picture", "Summer Mountain High Hidden Picture", "Summer Mountain Residence Picture" are all model works of Wang Meng using this chaffing method. "Lushan High" by Shen Zhou of the Ming Dynasty is also a representative work of this painting method. The Eight Great Masters of the Qing Dynasty had a great understanding of Niu Maochun's point method. The characteristics of this chaffing method: use the pen to flutter delicately, weave layer by layer, and overlap repeatedly, making it messy but not chaotic, dense but not stuffy, and there are rules in the chaos; when using ink, use a mixture of thick and light ink, and finally use burnt ink to refresh your mind. ; The dotting method is the most distinctive. The bald pen is scattered dots, and some moss spots are swept out with a pen or pointed out with the belly of the pen. When using ox hair ink, avoid being messy and monotonous when writing.
Horse tooth chapping; one of the traditional techniques of Chinese landscape painting. The so-called "horse teeth chapped" is like pulling out a horse's teeth, exposing all the muscles and feet. The chastity of a horse's teeth can be caused by pressing the side of the brush hard and kicking it horizontally. When the brush is pressed down, the bald flat area looks like the head of a tooth; when the brush is kicked and broken, the broken area looks like the foot of a tooth. The outline and the chaff are intertwined and blended, and the chaff is achieved by following the contour and the chaff. If it is roughened first and then cracked, it will become rigid. This method was often used by Ma Yuan in the Northern Song Dynasty and Huang Zijiu in the Yuan Dynasty.
One-line chapped: The pen is used in the center, round without angles, curved like drawing orchid grass, one breath to the end, the lines are strong, uneven and tight, and the dot method is like the word "一" or "mixed dot".
Unlocking the chap: It pays attention to the rise and fall of the pen, the appropriate shade of the ink and the well-proportioned lines. The brush strokes evolved from the Pi Ma Cha are longer than the Pi Ma Cha, and the strokes are dense and dense. It's like an untied rope, hence the name Jie Suo Chao.
Sesame cracked: Use a pen to make cracks like small grains of sesame seeds, which gather together to form cracks. It is named after its shape that resembles that of later generations. It should be used to express the uneven texture of huge rocks and peaks. The pen is thin and there are changes in density and density, just like raindrops. This method has not become the master of a certain family. It can be seen in the landscape paintings of the Tang Dynasty. Occasionally seen in craft paintings.
This method requires the painter to make a comprehensive observation and understanding of the scene, respect the objective objects and the painter's own true feelings, and firmly grasp the shape, spirit and momentum of the scene, and use the help of Image memory, give full play to the characteristics of pen and ink, and boldly write ink. After the pen is put on the paper, the actual effect of the pen and ink appearing on the picture will be adjusted according to the needs of the shape and the own rules of the pen and ink organization. When you start writing, you must be determined, orderly, and keep the brush strokes flowing. Control the speed and rhythm of the pen and ink well. After drawing one part, you must spread it out layer by layer to another part, so that the scenery in the painting and the pen and ink can be integrated in one go. , so that the Qi meridians are dredged and the Qi rhyme becomes natural and vivid.
Alum head is chapped: it is like the head of alum stone. The alum-headed stone has many edges and corners, and the shape is knotted and square. Each side is open, and the surrounding is convex, with a straight outline and horizontal cracks. Every time I-shaped fine lines appear, they stand high and are inserted upside down, like stacks of alum. Use the center of the pen, and use the ink to burn or wet. If it is burnt, it can be rubbed, and if it is wet, it can be stained. Liu Songnian often uses this method.
No bones or cracks: The painting method is rarely lines, but mostly large ink blocks, just like the ink used on lotus leaves. First, use a large brush to fill in the details. Shi Tao also mentioned this technique in his quotations.
Skeleton: It is like a human skull and bones. Human heads and bones, why should painting be famous for this? I don’t know that the images of mountains and rocks often resemble Buddha heads. If they are called Buddha heads, they are bare, without the exquisite orbital teeth, and are skinny and rugged. The ancients covered them with deep gaps, and Li Sixun painted them every time. It is purely made with hooks, precise and meticulous, fine and powerful, and sparse in dense places. It may look like a dragon head or a Buddha's head. It can be seen on the front, left and right sides, with eyes and nose in full shape, short and staggered, and all shapes and shadows are there. It is advisable to make a small painting, use white line drawings, and line it with thin trees with leaves and curved sills and corridors.