How to embody the unity of opposites of Yin and Yang in traditional painting and calligraphy works

Just for the yang, soft for the yin: (the old tree is full of branches and leaves, and the winding water is delicate and comfortable. )

The movement is Yang, and the quietness is Yin: (The waterfall in spring tide releases wind, sails and drums, clothes float, water stagnates, the pool is flat, smoke falls straight, and curtains hang down. )

Dayang, Xiaoyin: (Mountains and rivers, flowers and grass. )

The sun is near, but it is far from cloudy: (The mountains are high, the thunder and lightning are mixed, and the mountains and rivers are misty. )

Thick ink is Yang, while light ink is Yin: (Thick ink lingers in Youlong, while light ink flies to ease the journey. )

Tight for yang, suitable for yin: (autumn wind sweeps away leaves step by step, spring rain moistens flowers. )

Fast is sunny, slow is cloudy: (the drilling speed is flying white, and the yarn is soft and slow. )

In fact, it is yang, but it is yin in vain: (open up the territory, turn it into ink, and leave it blank. )

The big deficiency is yang, and the big reality is yin: (If the big white is real, the big black is not empty. )

Yang in the painting, Yin outside the painting: (Look at the picture and walk in the painting, and the meaning in the fugue painting is endless. )

The conception and creation of a painting and calligraphy work is like a fisherman casting a net in the water.

It's not that you should spread the fishing net as far as possible, but that you should control the fishing net under your own control and spread it out to get it back.

Spread it too wide, even you are caught in the fishing net, and you are in a hurry.

If you cast a net too far, you will lose the meaning of casting a net and get nothing.

Specific to each author, it depends on his own cultivation, cultivation and background. .....

In the final analysis, those paintings and calligraphy, before they were presented on rice paper ... in my heart, they were Yang; Nothing is cloudy in my heart.

Only when there are mountains and valleys in your heart and thoughts in your heart can you show the artistic conception of rivers and lakes with a drop of water.

There is a state of mind, but it must be restrained, so that it is open-minded and boundless.

Thick ink needs water to be moistened before it can be released;

Weak water needs ink to enrich it, so it won't come and go.

Understand and master the techniques of traditional painting and calligraphy, as well as the spiritual mood inside and outside the painting.

Connecting with a pen means connecting and echoing; White space, flying white, relaxation and other forms of expression have completed the opposition and unity of yin and yang in painting and calligraphy.