[Yan Gongda • Baoyuntang Art Review] Fifty -three reading of reading: Pen and ink are the ontology of Chinese calligraphy

"Hanshu Yangxiong Biography" cloud: "On" Chang Yang Fu ", talked about the articles of the pen and ink, so Borrowing Hanlin as the owner, Zimo as a guest to the wind." This is the earliest word "pen and ink". It refers to the tools for writing and painting. After more than 400 years, the king monk of Nan Qi has the phrase "Pen's Pen": "The slurry is dark and strong." Although the word "pen and ink" is not mentioned, what is said is the problem of pen and ink, "pulp "Dark color" is described as ink, and "thousands of strength" talks about the use of pens. Pen ink is the main expression language and skills of Chinese calligraphy and painting. It is a carrier of the artistic concept, aesthetic tendency, and ideological emotions of painters and painters. It can be seen that the problem of pen and ink is the most essential and core issue of Chinese calligraphy and painting.

The ancients said: "The author of the author, the ink, the pens of the ink, and the pen is not in harmony, the ink is not attached." The pen and ink are the elements of Chinese calligraphy. Infinite emotions and thinking. The first promotion of "Qi Charm" and "Bone Method" in Xiehe's "Six Laws" is the prerequisite for the brushwork of calligraphy and painting creation to become aesthetic value judgment. Imagine that there is no "brushwork", why talk about "charm and difficulty"? ("Symphony in the Autumn in Poetry and Books")

Pen and ink skills are rooted in subjective feelings. The pen and ink are writing people's minds. The ancients commented "... Contempt, Anthuto, and unreasonable love, why is the god of Mu?" ("What do we contribute to this era? —— Talking from the" Current Calligraphy Creation Academic Critical Exhibition ")

Dong Qichang Lin Su Shi's "Hangzhou Camp Post Post"

Mr. Yan believes that "the premise of the brushwork of calligraphy and painting creation has become a prerequisite for aesthetic value judgment". It can be said that "brushwork" and "ink method" are important languages ​​in the art of calligraphy and painting. In the Five Dynasties, Jing Hao was the ancestor of the northern landscape school. He believed that the rise of landscape paintings in the Tang Dynasty was to use pen and ink. His "Book" stated: "Wu Daozi is better than an image, the bones are high, the tree does not say pictures, and hates no ink." Guo Ruoxu also mentioned in "The picture seeing Wen Zhi" that Jing Hao once said to people: "Wu Daozi painted landscapes with pen and no ink, Xiang Rong has ink without pen, and I can pick the two sons." Jing Hao It is believed that Wu Daozi's lines of the lines are sufficient but less ink color changes, while Xiang Rong's ink color changes are rich but less. As a result, "I can pick the two sons of the second son", take two directors of each of them with pens and ink, so as to change with a pen, and use ink to be interesting, so as to achieve the effect of "people think of heaven". "Therefore, you can please the people to see the viewers easy to see" ("Xuanhe Painting Book"). Therefore, he said to the pen and ink in "Biography": "Although the author, although in accordance with the rules, the operation changes, is not forming, such as flying. Because of the pen. "

In the "Complete Works of the Mountains and Rivers", Han Qian talked about the relationship between the pen and the ink: "The pen is established to determine its shape, and the ink is divided into its yin and yang." However, Shen Zongzheng opposed the separation of the relationship between the two. Its "must must mustard the mustard" stated: "The word and ink, the word and the solution are fresh, as for the ink, especially the fresh and fresh. The place and the darkness are the ink. I do n’t know if this is just ink. There is a pen and no ink. "It can be seen that he attaches great importance to the relationship between the pen and ink, and it also follows the dialectical relationship between this ink in calligraphy.

Dong Qichang's "Test ink Post" partial part

Dong Qichang also regards the use of ink as much as a pen. He believes that both are important techniques to express calligraphy and charm. He said in "The Zen Room Essay": "The ingenuity of the word is in the pen, and the pen is still in the pen. Use ink. "Wang Yan believes that using Jianjian and thick ink in the relationship between the pen and ink can best express the brushwork of the strong and strong. Mo, Sri Lankan is powerful, and the charm is floating. "Liu Xizai's" Arts "said:" The pen is a temperament, the ink is the form. Speaking of the pen is inner and emotion, ink is the shape and body. If the ink can follow the pen, just like Caiyun and Po Tao accompanied the wind, then there is no impossible place to perform. This is also what Mr. Yan's consciousness: "The pen and ink are writing people's minds.

In the long -term practice of calligraphy and painting, Huang Binhong summarized the unique method of "five strokes and seven inks" with a pen and ink method. Five saying "change"; "Seven inks", that is, "ink, light ink, breaking ink method, splashing ink method, accumulation of ink method, scoring ink method, and ink method." This reflects the brushwork of its painting Calligraphy's brushwork. He advocates "the way of calligraphy and painting, nothing, ink method, and chapter method. The method of ink is used to look at the pens. In one stroke, there are several colors, and a pen in the ink. This means that there are pen and ink. "It means the fusion of the pen and ink. Pan Tianshou explained more directly in the relationship between the pen and ink in "Listening to the Tiange Paintings", saying, "The pen cannot be left, there is no pen to leave ink. In the only way, the ink can be written. The two are used in the pen and ink, and the dependency of each other is used, and the separation is destroyed. "It shows that" pen "and" ink "are mutually developing and complementary in calligraphy and painting. A good work must have a pen and ink, and the ink comes out. Since the Song Dynasty, most scholars have paid attention to the ink method while paying attention to the pen, and also deeply realized that the ink is expressed by the pen. The pen is the foundation of the calligraphy, which means that the ink method depends on the pen, leaving the pen to talk about The law of ink is empty talk. Zhou Xinglian's "Linti Pipe" cloud: "I don't know the pen, use the ink?" Liu Xizai's "Book Summary" cloud: "The book uses the pen as the quality, and the ink is the text. It is also inside. "Huang Binhong's" On the Ink Method "said:" The ancient people's ink method was wonderful to use water, ink and ink deity, still writing power, losing brushwork, and no light ink. "These discussions all point out in the language of calligraphy. The inner is fundamental, and the use of ink is an external modification. This also reveals the relationship between the "text" of the pen and ink. It is opposite, not equal, and subordinates. Mo Lai is manifested, and the use of ink should be based on strokes.笪 笪 笪 笪 笪: "The ink is clever in the pen, and the author can use the author. The ink uses the pen as the bone bone and the pen is the elite." The pen is controlled by the pen. Essence This has made the best footnote for the relationship between the pen and ink, highlighting the importance of the pen. Although in writing, it is supplemented by pens and ink, but the depth and degree of use of the cognition of ink method directly affect the performance of the brushwork. Therefore, although the ink is a small technique, it has a big reason.

Yan Zhenqing's "The Manuscript of the Nie"

Calligraphy is in the pen, which is ink. How to use the main expression of pen and ink in calligraphy art creation? From the aspects of Chinese calligraphy history, calligraphy theory, and their own personal practice, Mr. Yan takes the two classic methods of "Lanting Preface" and "Jie Nie's Manuscript" as an example in the article "Realm and Character" as an example. The use of techniques and its aesthetics. Say:

"Lanting Preface" is extremely rich in pens, and the middle side and square circle are all available, and the rigidity is clear, the turns are mostly touched by the pen, and the square pen is used to show skilled writing skills. "The Manuscript of the Nie" is mainly based on the centered center of the puppet, and the fascination, frustration, free and flexible, and a nature; turning or a round pen, follow the trend, or complete the pen with a pause. Pressing, turning, square, and Xu Xuan have changed a lot, all of which are the same as the same; love goes with the pen, the intention is true, the natural rate is true, it is the highest state of the free kingdom. From the perspective of ink color changes, "Lanting Preface" was filled with ink, and at that time, he did not want to use ink changes. "The Manuscript of the Nie" from the "first year of Victoria", the strong ink started, and gradually died, until the "Puzhou military" completed the first climax of ink -both ink color and emotional needs. It is just right that the word "military" was written without writing. This not only avoids the monotonous of the thirsty ink, but also compares the word "Puzhou" with the ink color on both sides, which does not make this line "leak". Since then, from "Puzhou Assassination History", it is thick, coke, or thirsty, and the ink is dipped in ink; The ink balls that are modified and applied to the hand are added to the whole article. This roll of ink is gone, and the transition is natural. It is wonderful and magical. There can be only one or two. Some people may say that "The Manuscript of the Ceremony" has no wet ink and light ink on the ink color, and there is a little change in using ink. In fact, this may be a reflection of the perfect combination of the wonderful combination of the ink color of "The Manuscript of the Needle" and the pursuit of the aesthetic pursuit. The common sense of calligraphy art creation tells us that if the "Sacrifice Nie Manuscript" uses wet ink and light ink, it will not only show masculinity and lofty tragedy beauty, but will hinder the fully display of its masculinity, lofty and tragic beauty. It is the skillful and innocent of the pen and ink that make us appreciate the vitality and emotions, and have a lofty and tragic beauty. ("Baoyuntang Art Review")

Huang Binhong to Zhu Xunzha (partial)

The use of pen and ink is the standard characteristics of Chinese calligraphy and painting art, and it is also the standard for the aesthetics of the art of calligraphy and painting. Therefore, the pens and ink fun have become an important part of Chinese calligraphy and painting appreciation. It can be seen from the interpretation of Mr. Yan that in addition to the problems of "there is a pen and no ink" and "no ink and no pen" in the art of calligraphy and painting, there are also the problem of high or low strokes. Although the standard understanding of the height of the pen and ink has different understanding of the level of pen and ink, there are still consensus, such as "vivid charm", "the god of rush", "natural rate", "strong Huazi", etc., all describe the increase in pen and ink. And low -style pen and ink are often called "disease" or "taboo", such as "elegance, sweet, vulgar, delection", "board, carving, knot", "crane knee bee waist", "spring earthworm and autumn snake" Wait. Zhong Yanyun: "Those who are more powerful and rich in tendons are sanctified, and those who are unable to have no muscles." Yang Shen's "Book Products" Yun: "Jiang Baishi Yun: 'Xu Jihai's thirst, such as Qiyu's vegetarian, beauty light makeup. With the strokes of infatuation as ink pigs. The word of Yuan Ban Yan Gong, the critics think that the dead pig intestines can be metaphorized. "So," multi -force and rich tendons "," Qi 筵 馔 馔 "," beauty of beauty " High, while "weakness and muscles", "ink pigs" and "pig intestines" are lowered. People often attribute the problem of pen and ink style to "skills", but in fact, not only that, Mr. Yan's words pointed out "Pen and ink skills are rooted in subjective love. The pen and ink are written by the man. Really rooted in the heart. "Learning calligraphy is" learning ancient ", which is the use of the mature pen and ink procedures and skills of the ancients. On this basis Mr. Yan realized in "Baoyuntang's Art Records": "Pen and ink are the core elements of the art of calligraphy and painting art, the trace of the heart of the calligraphy and painter, the manifestation of temperament, the transmission of aesthetics, and the label of learning."

(Text/Peng Qingyang)

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