What does "splash ink" mean?

Chinese painting technique name. According to legend, Wang Qia splashed ink paper in the Tang Dynasty, rubbed his feet with his hands, and drew clouds and clouds at will according to the shapes of stones, clouds and water, just like a clever trick, but he looked down and could not see the traces of ink stains (see Record of Famous Paintings in the Tang Dynasty). "Bamboo Painting" by Li Rihua in Ming Dynasty: "Splash ink skillfully, without handwriting, like splashing ears." Shen Zongqian's Mustard Painting in Qing Dynasty: "Ink splashing, mountains splashing green, grass splashing green, can best express the charm of painting." Later generations pointed out that the pen was full of ink, or clicked or brushed, and the ink dripped dripping and magnificent, all of which were called "splashing ink". In modern times, there is also a kind of bold and unconstrained painting method based on color, which is called "splashing color".

2. Splash ink method

The ink splashing method was founded in Wang Qia (also known as Wang Mo and Wang Mo) in the Tang Dynasty, and it is recorded in the Records of Famous Paintings in Tang Dynasty and Records of Famous Paintings in Past Dynasties. Wang Qiaxi was so drunk that he took off luxuriantly after drunkenness, which aroused the generation. He splashed ink on silk and painted rocks and nymphs in the form of ink, which was confusing and seamless. People call him "the king of ink splashing". The so-called splash-ink method in later generations refers to the freehand brushwork with bold writing, dripping brushwork, muddy ink color and magnificent momentum. In that case, the brush should be bigger. Use a pen full of water, dip it in appropriate ink, boldly put pen to paper and point out the shape of the rock. You should have a well-thought-out writing plan, with appropriate weight. It can be rewritten or whitened, changing with the shape of the object, and naturally it can get rich, moist and vivid effects.

Throw ink at mountains and rivers

The so-called landscape is the landscape of western painting and photography. The landscape of Chinese painting is the most important, but it also needs pen and ink assistance. There is a realm, but there is no pen and ink, or there is pen and ink, but there is no realm, and it will not work. Its structure and location must be particularly emphasized, such as painting temples. These places should not be like other people's houses, as if they were talking about Feng Shui. This statement, we should look at ancient monuments, as well as famous mountains and rivers, places of interest, and we will naturally understand it. If you draw a picture, it is mainly about people who live there. It is like a graveyard. Such a painting, hanging on nave, is it comfortable for others to look at? Can it still be charming? On painting, Guo Heyang should be able to observe, swim and live. What he said is that when people look at this painting, they will be interested, and they will look at it again and linger. The second step is to play, and the third step is to figure out how to move to live in such a good place! This kind of scenery is enough.

Some people say that China's landscape paintings are flat and the trees seem to be sawed from the middle, which is absolutely incorrect. Since the Tang and Song Dynasties, there have been schools of literati painting, which are inevitably centered on pen and ink, but relatively neglected in painting theory. If we carefully observe the works of famous artists in Tang and Song Dynasties, we can see that the paintings are rigorous, and it is clear that it is rainy and sunny. Dong Yuan painted a tree with branches all around. The rocks look like sunset. Share weal and woe, draw a bunch of trees, one branch is nothing, is it flat? Painting landscapes must be practical. Look at the famous mountains and rivers, the strange peaks and steep cliffs, the steep peaks and flat slopes, the misty clouds, the waterfalls and the ever-changing world view. You can't reach the nib without seeing it with your own eyes. I have seen it in my eyes, and I will naturally have it in my chest. When I shake my pen, I will naturally run under your wrist together.

Painting mountains is the most important method. The ancients had various names, but they only realized it from the mountains and rivers they saw. What kind of method should be used to transmit words, what shape, so it is called XXX, and it is not forced to use this method. For example, Beiyuan is pushed by a horse, because there are more mountains and soils in the south of the Yangtze River than stones, and because the paintings are lush, this method is suitable. If Fan Hua originally painted mountains and rivers in the north, the royal family in the Taihang Mountains, with more stones and less soil, high terrain and less grass and moss, it is naturally suitable to use such techniques as pulling out mud nails, rain hitting the wall and ghost face. What is it like to set up two public schools and transform them into each other? So what I mean is that there is no need to stick to the method of landscape painting, as long as it suits a certain kind, use a certain kind of painting. The ancients listed several methods, such as lotus leaf, axe, horse, mud nail, Yun Toucun, folding belt, ghost face, Niu Maocun and horse teeth.

4. The representative figures of splash-ink landscape painting

Wang Wei's ink landscape, Wang Qia's splash-ink landscape, etc. During the Five Dynasties and the Northern Song Dynasty, many authors appeared in landscape painting, such as Hao Jing, Guan Tong, Li Cheng, Dong Yuan, Ju Ran, Fan Kuan, Xu Daoning, Yan Wengui, Song Di, Wang Shen, Mi Fei, Mi Youren, etc., and green landscape painting reached a peak. Since then, it has become a major painting theme of Chinese painting; Landscape painting in Yuan Dynasty tends to be freehand brushwork, taking virtual as reality, focusing on the charm of pen and ink, and creating a new style; Ming and Qing dynasties and modern times, continuous development, a new look.

Ink-splashing fairy

The Painting of the Fairy Splash Ink is the earliest existing freehand figure painting. It can be said that Kai Liang and the Academy of Painting completely abandoned their own painting style, and created a masterpiece of "pen reduction" in their painting creation. In addition to the face and chest, the immortals on the screen draw horizontally and vertically with wide pens, and the pen and ink are hearty and uninhibited. When constructing characters, the author deliberately exaggerates his forehead, occupying almost half of his face, squeezing the five senses into a small area below, with drooping eyebrows, narrow eyes and a flat nose and pie mouth, which is not only intoxicating, but also humorous, showing the author's ideological realm and attitude towards life with vivid images, and laughing with extreme curses. According to the history of painting, Liang Kai was informal, good at drinking, enjoying himself, wild and uninhibited, and had his own ideas in art, so he refused to go with the flow, so he was called "Liang Crazy". It should be said that what Liang Jie painted was not a "fairy", but a portrayal of himself. In the early stage of his artistic career, Liang Kai was strictly trained by the Academy of Painting, and figure painting inherited Li's painting style. Later, due to the author's own quality and historical factors, with this "crazy" power, Kai Liang opposed conformism, dared to be unconventional, and dared to create and develop, so he occupied a place in the history of China painting.

The appearance of "painting immortals with ink" is inseparable from the prevalence of Zen in the Southern Song Dynasty. The title of this icon is "added by later generations". Judging from its big head and bulging belly, it is a bit like a cloth bag monk that people believed in at that time. The description of his mental attitude is a bit like Kai Liang's Canon of Monks. This painting not only embodies the Zen thought, but also is the inevitable product of Liang Jie's Southern Song Dynasty. From another perspective, it also fully embodies Kai Liang's "deviant" spirit of bold innovation in figure painting system.