Emotion at the bottom of the pen: pen and ink, temperament, painting and calligraphy

Pen and ink temperament painting and calligraphy

■ Vertical Swiss method

Pen and ink and temperament are long-standing debates in the field of calligraphy and painting. Some people say so. Tell me what temperament cursive script, official script and seal script express, and what is the feeling of lifting, pressing, skimming and pressing?

I don't know much about calligraphy and painting, so let's talk about my personal thoughts:

First, pen and ink and painting and calligraphy

Calligraphy and painting are twin sisters in art, and they have a very close historical origin. Both painting and calligraphy should pay attention to the change of pen and ink. Only by making magical changes in pen and ink can works produce various forms. Therefore, whether ancient or modern, painters and calligraphers are struggling to explore, pursue pen and ink, persevere and never regret, and strive to make every powerful line directly show some emotional skills. It is precisely because of the great difference between pen and ink that a wide variety of China painting and calligraphy art treasures have appeared.

The first is brushwork, that is, the method of using a pen. The ancients attached great importance to brushwork. Through the practice, exploration and innovation of painters and calligraphers of past dynasties, brushwork has created many unique and expressive brushwork. For example, in the six laws written by Sheikh in Nanqi, "the bone method uses a pen" and "the pen is the main one, supplemented by ink." Huang is a master of modern calligraphy and painting, and he has a deep research on using pens. He said: "brushwork is the way of painting, and there are five strokes with a pen: flat, left, round, heavy and varied." Flat, like a cone drawing sand (forced through the back of the paper); Stay and fold the hairpin (if there is any leakage); Round, golden to soft (folded and continuous); Heavy and powerful; Change, change a lot (show wonderful). He didn't write a pen, he didn't write a pen Pan Tianshou also said that "pens are everywhere". What you care about with a pen is the luck of your wrist. Ancient and modern painters and painters want their works to be perfect, and they are all working hard with a pen. The rich variety of brush strokes makes his works vivid and fascinating. Using a pen is the basis and premise of using ink. The ancients said that if you can't use a pen, you can use ink.

The second is ink method, that is, the method of using ink. As early as the mid-Tang Dynasty, there was a saying in art history books that "ink was transported in five colors". How a painter skillfully uses the dry, wet, thick and light colors of ink and wash is the key to the success of his works and the crucial factor in the formation of his personal style. "Ink comes from pen, pen comes from ink", and the organic combination of pen and ink constitutes ever-changing calligraphy and painting. The ancients said: "Pen is bone, ink is flesh", and pen and ink is an important and unique modeling method of calligraphy and painting. There are thick ink method, thin ink method, broken ink method, accumulated ink method, burnt ink method and stored ink method. What I want to talk about here is the use of water. Water is the most magical and difficult thing to control between pen and ink. Huang said in "Painting Quotations": "The ancients' calligraphy was better than water, and ink was deified. Still in the pen, the pen is insufficient, and the ink is disgraceful. "

The third is the spirit of pen and ink. Superb brushwork and subtle ink color changes have laid a solid foundation for the birth of a successful work. However, it is not enough for a masterpiece to embody the spirit of the times, personal style, shock people's hearts and even remain immortal. Why? A painting and calligraphy work should be a comprehensive crystallization of pen and ink skills, courage, personality, education and other factors. A calligrapher said that we learned a lot of nutrition from the classics through dialogue with the ancients. We should release it in our creation, fully vent our desire to express, show our spirit with works, and write our hearts with talent, understanding and talent. The ancients often said that "books are the paintings of the heart" and "books are like people". There is a very important problem here, that is, the problem of "book" and "character"

Calligraphy, that is, the grade and level of calligraphy works. Huang divides calligraphy and painting works into three categories: functional products, wonderful products and magical products. He said that energy accumulation is what skills can require; Wonderful products are works with certain artistic value above functional products; A masterpiece is a "stroke of genius" that I can do, that he can't do, or that I occasionally do on a certain occasion. For example, Wang Xizhi's Preface to the Lanting Pavilion needs a day's work and an extraordinary work to create a masterpiece.

Character, that is, the painter's character and personality. Su Shi said: "Ancient storytellers also commented on life." The moral and personality charm of painters and painters has always been one of the important criteria for domestic and foreign art critics to judge works of art.

Therefore, as a painter and calligrapher, we should not only practice pen and ink hard, but also strengthen the cultivation of moral quality, strengthen the self-shaping of personality charm, and strengthen the tempering of comprehensive qualities such as cultivation, knowledge and moral cultivation. Only in this way can Guo of the Northern Song Dynasty say in Painting and Experience: "The character is high, the charm is high and the charm is vivid." Works with vivid charm have always come from authors with noble character.

In fact, pen and ink cannot be completely separated. Pan Tianshou said, "Pen is both pen and ink. When you press it, you use a pen, which shows that it is wonderful. Dry, wet, thick and light are all ink. Badashan people said, "Don't write for the sake of writing. It is most important to have ideas. "We should integrate pen and ink with thoughts. Therefore, pen and ink is not only the pursuit and expression of painting and calligraphy, but also the content of appreciation. The organic combination of pen and ink and artistic conception is the real classic that painters and painters have explored all their lives.

Second, temperament and painting and calligraphy

Calligraphy and painting are art, and art needs to express feelings. In a sense, a masterpiece handed down from ancient times is the product of the author's extreme temperament in a specific environment. Without the change of line image and pen and ink, calligraphy and painting can't express the author's rich thoughts and feelings. Similarly, without the author's unique inspiration and rich thoughts and feelings, it is impossible for a painter to make a shocking and immortal masterpiece with lines and pen and ink.

Known as the second running script in the world, the priority of changeable lines and rhythms in Yan Zhenqing's Sacrificial Scripture has been ups and downs with the author's resentment against the Anshi Rebellion and his strong grief over his nephew's death. What we feel is the grief and indignation expressed between the lines of the author, not just any calligraphy skills.

Painting and temperament, the same scenic spot, a thousand painters may show a thousand different looks. The same flowers and trees, different authors draw different effects, that is, the same scenic spot, the same theme, the same painter in different environments, different artistic conception, different atmosphere, the landscape painting and flower-and-bird painting will be completely different. Therefore, some people say that Li Keran's dark mountains and rivers can reveal our deep depression. When Shi Tao painted Peach Blossom Garden, he not only showed the carefree feeling of Tao Yuanming's Peach Blossom Garden, but also carefully selected a tree, a stone and a little bit in his pen, carefully composed the composition, and drew the paradise that Shi Tao wanted to go to.

In the creation of calligraphy and painting, brilliant calligraphers always transform the landscapes, flowers and birds, summer peaks and winter snow scenes in real life into the unique feelings of the calligrapher, and melt them into the landscapes, flowers and birds in the author's mind with beautiful emotional lines, colors, rhythms, joys and sorrows, which are undoubtedly passed on to the appreciators.

It is true that the success of calligraphy and painting works mainly depends on the calligrapher's pen and ink skills, knowledge, education, life, artistic ethics and so on. Without these, no matter how rich the desire of nature, passion and inspiration is, he will never create exquisite calligraphy and painting, let alone masterpieces handed down from generation to generation. However, without the painter's nature and feelings, it is impossible to produce touching paintings and calligraphy works only by the above.

(Suzhou 201111)