’ The true truth is that the white in the painting is the painting within the painting, that is, the painting outside the painting. ...and you should be particularly cautious when leaving blank spaces

’ The true truth is that the white in the painting is the painting within the painting, that is, the painting outside the painting. ...and you should be particularly cautious when leaving blank spaces in the overall width. If you have momentum, use it to be wide. If it is narrow, your breath will be short and restricted. If you have momentum, use it to be narrow. If it is wide, your breath will be relaxed and dispersed. Make sure to make sure that the whole body is clear. The blankness should not be rushed, not scattered, not sporadic, not lonely, and not repetitive. Then the blankness of the whole body is the dragon vein of the whole body. "(5) Pay attention to the inscriptions. Inscriptions on Chinese paintings began around the Song and Yuan Dynasties. The content of the poems and inscriptions can often supplement and enrich the theme of the painting. The number of words in the inscription, the length of the lines, odd or even, horizontal or straight writing The writing must match the reality of the layout, and the font of the inscription must also match the painting. That is to say, regular script should be used for meticulous paintings, and running script or cursive script should be used for inscriptions on large-scale paintings. The large characters and small paintings should be matched with small characters. The mountains and rocks are vigorous, and the trees and trees should be beautiful. The color and ink of the pictures should be lighter, and the inscriptions should also be written in light ink. After that, a seal must be added below. The relationship between the seal and the title is the same as the relationship between the title and the painting. Therefore, the title and seal in the Chinese painting are also part of the painting and constitute the painting. an organic unified whole.