1. Ink color can be divided into dry and wet shades, and calligraphers have their own hobbies. The preference for ink color is called "ink interest". The use of ink directly affects the appearance of the work. Bao said in "Art Boat and Double Boat": "Calligraphy, inch pen, is made of ink, then ink is a key to calligraphy." With the rise of literati painting in Ming dynasty, the brushwork of calligraphy was integrated into Chinese painting, which added brushwork and ink interest to Chinese painting works. Thick ink is the most important ink method. The ink color is thick and black, and the pen power is solid and heavy when writing, and the ink does not float, which has the effect of dignified and calm. Most ancient calligraphers like to use thick ink, and ancient calligraphers Yan Zhenqing and Su Shi like to use thick ink. Su Dongpo's requirements for ink are: "light but not floating, Zhan Ran is like a child's eye", and he thinks that ink is light but not black, which loses its function; Black is not only "boring and unpretentious". In the Qing Dynasty, Liu Yong used thick ink, which was called "Prime Minister of Thick Ink". When writing in thick ink, the characters are particularly energetic and easy to cause warm and rich artistic effects. The use of Jiao Mo will arouse vigorous and simple interest in ink. But some people like to use light ink, such as Mi Fei in Song Dynasty and Dong Qichang in Ming Dynasty. Writing in light ink is quiet and indifferent, which gives people a beautiful and elegant aesthetic feeling and has its unique ink interest. Dong Qichang makes good use of light ink, and calligraphy pursues the artistic conception of mistress. Judging from the whole work, it is rich in shades, ethereal and transparent, quiet and elegant. "Essays on Painting Zen Rooms" said: "It is a great evil to use ink to make it jump, not boring, especially to avoid thick fat." In Qing Dynasty, Laure Shang was known as "exploring flowers with light ink", and his works were sparse and beautiful. Thick ink and light ink have their own charm, and the key is to master it. Using too light ink will hurt the spirit; Too thick is just not good. As Zhou Xinglian said in the Qing Dynasty: "The method of using ink, strong desire for its gas, light desire for its China, live in China, not ink wide." Those who are not good at using ink are easy to dry in shades and easy to fade in shades. In a few years, they will die. "Ink rising refers to the phenomenon that ink overflows over strokes on rice paper. Rising ink is not valid in the orthodox concept of "ink can't come out". However, the beauty of rising ink is that it not only maintains the basic form of strokes, but also has a hazy ink interest, blending lines and faces. Wang Duo used ink to enlarge the expression level of lines. In his works, dry, light, thick and wet are combined, and the ink color is rich, which sweeps away the boring ink method of predecessors and forms a strong visual artistic effect. Thirst pen and dry pen refer to the effect of writing on paper after the ink contained in the pen is lost or most of the ink is lost. The thirsty pen sees moisture in the pallor; Look at the old with a dry pen. When using thirsty pen and dry pen in writing, we should properly control the amount of ink used. Mi Fei's Note of Su Jing in Song Dynasty "I wanted to send it tomorrow, the moon will be bright, and it will be sent to my ears tonight;" "A few words, with a thirsty pen, dry pen performance, astringent pen lines, pale and vigorous. Calligraphy is rich in pen and ink expression skills, and water is the key to expressing various pen and ink methods. " "Painting World" said: "Mohism stresses water, taking ink as shape, water as qi, qi and shape as life. It is reasonable to occupy ink and ink painting. "In addition, the skill of using ink is closely related to the weight of brushwork and the quality of paper. The change of ink color in calligraphy works will enhance the rhythm of the works. Of course, the use of ink painting is natural, and we must not blindly pursue a certain ink painting effect and fall into a vulgar realm. After learning the experience of various ink writing methods in ancient China, and having a certain basic skill of calligraphy, you can make various attempts according to your own artistic taste, without emphasizing uniformity. But for beginners, from the perspective of practicing basic skills, to see the effect of copying, a certain concentration of ink is needed. Generally speaking, with a hard brush, the ink can be thicker, and with a soft brush, the ink can be lighter; Regular script can be thicker, and cursive script can be lighter. The ink can be thicker when writing big characters and lighter when writing small characters. 2. Pen For beginners, if you use a hard brush from the beginning, you don't need a lot of skills to carry a pen, because a pen will help you a lot, but over time you can only use a hard brush. Once you pick up a sheep's brush, you find it difficult to move. On the contrary, if you practice calligraphy with sheep's hair when you are a beginner, although it is difficult at first, you must change the front by lifting and pressing to write qualified strokes, but you also learn the method of using soft pen. With the increase of contact time, you will gradually become handy and use it freely. At this time, if you pick up a hard brush to write, you will feel relaxed. Generally speaking, the pen is as big as the word; The pen should adapt to the font. If you write big characters with a small pen, it is not conducive to the change and play of pen and ink; It is difficult to control the thickness of strokes with large strokes when writing small characters, but it is beneficial to exercise the ability to control the writing brush and has its advantages. The nib of a brush is mainly composed of a nib and a pair of bristles. The so-called brush tip refers to a cluster of long and pointed parts in the center of the brush tip, and the so-called bristles refer to some short hairs wrapped around the brush tip. In the process of writing, pen front and assistant play different roles unscathed. Brush strokes are the most elastic place in brush strokes, which determines the direction and strength of brush strokes, so there is a saying that "brush strokes dominate the bones and muscles". However, the brushwork with bones and muscles but no flesh and blood is not beautiful, so calligraphers of all ages used not only the nib (and the nib and the sub-nib can not be completely separated) but also the sub-nib when writing. Secondary fur controls the thickness of strokes. The more secondary hairs come into contact with the paper, the fuller the strokes will be. Therefore, there is also a saying that "the deputy is flesh and blood." "In the process of calligraphy, calligraphers always coordinate the use of brushstrokes and auxiliary pens according to their own aesthetics. People who attach importance to bones and muscles and take thinness as beauty use less hair; And those who emphasize both bones and muscles and flesh and blood, and take fullness as beauty, must use it more. The tip of a brush can be roughly divided into three parts according to its position: the tip (leading edge), the abdomen (middle part) and the root (joint with the pen holder). Divide the part from the pen tip to the pen belly into three equal parts, the part near the pen tip is called a minute pen, the part from the middle part to the pen tip is called a minute pen, and the part from the pen belly to the pen tip is called a minute pen. Obviously, when writing with one stroke, the strokes appear slender. For example, Chu Suiliang and Xue Ji, calligraphers in the early Tang Dynasty, often used this method. Song Huizong's The Book of Thin Gold is also a prominent example. Write in dichotomy, and the strokes are round and handsome. For example, Liu Gongquan in the late Tang Dynasty and Zhao Mengshun in the Yuan Dynasty used the dichotomy. Writing with a three-point pen makes the strokes look plump and vigorous. Such as Yan Zhenqing in the middle Tang Dynasty and Su Dongpo in the Song Dynasty. Generally speaking, writing with a three-point pen is the limit of using a pen. The ancients said that "the pen is not waist-length". Such as "waist" pen, first, it is easy to appear "ink pig", and the nib can't bounce back when it is lifted; Second, it is easy to open and close the nib; Third, the service life of the pen is greatly shortened. For beginners, it is often prone to two extremes: first, they dare not spread out the text and write with the pen tip alone, making the text look delicate and weak; The second is to smear at will, even write with the root of a pen, and the words appear bloated and warty. Therefore, beginners should first pay attention to the correct use of pen position. 3. The easiest way to judge the ripeness of rice paper is to test it with water. When the water drops on the rice paper, the raw rice paper gradually spreads around, while the cooked rice paper either spreads immediately or no longer. Slow communication is half-cooked propaganda. We call the phenomenon that water droplets gradually spread around in the biological declaration the wet dyeing feature. Raw rice paper has a strong wet dyeing property, and the wet dyeing degree of different raw rice paper is also different. The application of this wet dyeing in Chinese painting performance can enhance the charm and layering. Wet dyeing is applied to calligraphy creation. After the writer has a strong writing skill, he can well drive the wet dyeing of ink, and then use the four-stream characteristic of ink falling into paper to turn the ink into inward penetration. In this way, the ink left on the surface of the paper penetrates into the inside of the paper. When the writer practices skillful writing skills, wet dyeing makes the written font full and elastic. After the work is mounted, the ink line will present a round and three-dimensional vision. Because of the unique wet dyeing of health promotion, writing becomes more and more difficult. Therefore, calligraphy practice, as a practical behavior to improve one's life accomplishment, needs long-term practice to achieve the expected purpose, and can exercise the inner self-restraint, patience and character of the writer. In addition to wet dyeing characteristics, Shengxuan also has strong ink absorption performance. The wet dyeing characteristics of the winning selection are caused by the characteristics of water, and the wet dyeing phenomenon caused by writing with light ink is obvious, while the wet dyeing degree caused by writing with thick ink is relatively weak. The ink absorption of rice paper is closely related to its internal structure and the ink used. " Water and ink remain "is an appropriate expression of this feature, and it is also the perfect integration of extremely fine" ink particles "and the internal fiber" pipeline structure "of rice paper. Therefore, the quality of ink (paste ink for creation) and the quality of paper are the biggest factors that affect the color effect of ink. It is the winning wet dyeing property that makes it have strong ink absorption, thus making it have a unique wet dyeing effect. The two complement each other, which makes the paintings and calligraphy works created by Sheng Xuan have strong visual effects and unique charm. It is best to use cheap and absorbent ordinary paper for writing practice, such as tassel paper and meta-book paper. Generally speaking, big characters can be written on loose paper, and small characters should be written on tight paper. For creative paper, beginners can use cooked or semi-cooked paper. If you use raw rice paper, you should fully understand the wet dyeing characteristics and ink absorption performance of raw rice paper, and master the discretion when dipping ink, not too much, otherwise it will become a black ball. If you have a good proper limit, it is easy to get results with vigorous publicity. If you hydrate quickly after writing, quickly cover it with absorbent waste paper to prevent the ink from flowing out. The depth of ink used and the amount of ink dipped depend on the performance of the paper. The artistic effect of paper with various attributes varies greatly. It is very important for the artistic creation of calligraphy to master the properties of paper and fully show the interest of pen and ink through practice. References:
Shihua 1 article "Basic knowledge of calligraphy-ink" and so on.