Inscription is one of the important forms of Chinese painting. According to the information available so far, Wen He Ke and Ke Jiusi of the Song Dynasty were the first painters to directly inscribe poems and names in prominent positions on the picture. Prior to this, most works simply inscribed the name of the writer on the screen, and at most added the date. The title text inscribed in the interval of the segmented figure paintings of the Jin and Tang dynasties cannot be regarded as inscriptions of complete meaning. In the Yuan Dynasty, Zhao Mengfu, Qian Xuan and others, inscriptions began to form a trend and became an important program of Chinese painting. In the Ming Dynasty, the form of inscription began to be greatly enriched. Among them, there are "poor questions" that only remember names, and "long questions" that are mixed with poems, essays, and poems, and "work questions" with regular styles, and "full questions" that are filled with blanks. The wind has affected it until now.
The inscription of Chinese painting is a rich and complex issue, which contains extremely profound cultural and social connotations, and only briefly elaborates on its form here. To put it simply, there are three main aspects of the form of the inscription: one is the location management, the second is the content, and the third is the calligraphy skill.
Shen Zhou, "Lushan High Map" (detail) (collection of the National Palace Museum, Taipei)
Business location, let the picture "open and close"
The position management of the inscription is the question of how to deal with the relationship between the position occupied by the inscription in the picture and the whole. Generally speaking, there are some common techniques: "one line of edges", "head", "full of questions", "hidden", and so on.
- [Side Line Style] This problem method is to go straight down the edge of the left or right edge of the picture. It should be on the left or the right, whether it should be long or short, depending on the picture situation. For example, if the bottom left of the picture is heavier, then it is better to go straight down on the right side, and vice versa. If the blank space on one side of the picture becomes vertical, the line should be slightly longer if it is generally straight down; If the blank space becomes horizontal, the line should not be long.
- This is the most common technique, and the content of the general inscription is in the upper part of the sky, two or three lines, or even multiple lines. In the case of a relatively stable picture, you can write in the large white space. It should be noted that, unless there are special circumstances, the inscription should not be placed in the center. The Qing emperor often stamped or inscribed poems on the center of the painting, which was a manifestation of the idea of imperial power, and an unnecessary interference to the work itself. Most of the "head-type" are more regular, and the branch is relatively clear. As for whether the position is vertical or horizontal, and whether the feet of each row should be uneven except for the head level? It should be carefully examined and determined according to the situation of the blank area.
Tang Yin, Riding a Donkey and Returning to Situ (Collection of Shanghai Museum)
- This method is to fill all the blank parts of the sky above the picture, which is called "full question". The first word of each line should be flush with the other lines, and the footsteps should be changed according to the blank space. "Full Title" has higher requirements for calligraphy.
- [hidden] is also known as "hidden", that is, the inscription is not too obvious on both sides of the picture, which can be inscribed in the blank space, but most of the inscriptions are placed in the unimportant places with the picture, and the inscription is pressed on the screen. The number of words of "Tibetan paragraph" is small, and the glyph is small. Sometimes, when the first three ways are uncertain, "hidden" is a smart way to keep it safe.
In each of the above cases, the use of seals is more or less the same. Generally speaking, the size of the seal and the size of the glyph should not be too different. The number of prints can be used for one or two sides, not too much. When two square seals are used in a row, the white text is generally printed on the top and the Zhu text is printed on the bottom. The printing surface should not be large or small, and the weight should not be too different. It is advisable to use the horn seal with caution, not too large or too heavy.
In short, the question of the position of the inscription and the form of the seal are not mechanical and immutable. Its overall requirement is to obey the picture as a whole, and sometimes it can play the role of "pushing" and "pulling" the rules on the picture, or it can also be regarded as an extension of the "opening and closing" of the chapters, and even more as a special means to make a plain painting unique and interesting.
Regarding the position of the inscription, it is the true trick to focus on the "stay".
"Simple" is not plain, and "complex" is taboo
Regarding the content of the inscriptions, they can be roughly divided into two categories: "simple" and "complex".
The simplest content of the inscription can be just a surname or first name. Then it can be a name plus an alias, an alias, and then "write", "draw", "make", "make", etc., as well as the year, month, season, phenology, location, environment, etc. The addition of the above content to a painting title still belongs to the scope of "Jane", including the addition of the above paragraph, such as "Mr. XX belongs", "Comrade XX Daya correction" and so on.
Mao Fan "Freehand Landscape Painting"
- [Let's talk about "complex"] Complex is that you can write a poem without restrictions, write a short essay related to a paragraph, or even a poem with a text, a narrative and a discussion, and sprinkle it with enthusiasm. This is also known as a "long question". Of course, "long topics" require good literary skills, even if you are a "copyist", copying other people's poems and arguments, you must also copy them properly, appropriately and naturally. Otherwise, it is better to be short than long, and it is better to lack than to be excessive. "Long topic" is the most taboo to become "snake feet". In addition, in the past, the style of "long topics" was mostly in literary language, but now there is no need to be rigid, and it is not impossible to sandwich the text in white or use the vernacular.
No matter whether the content of the inscription is "complicated" or "simple", it is necessary to look at the location and calculate the capacity in advance. Don't be wishful thinking for the sake of the topic. If it is not simple, the breath will be congested, the long topic will not grow, and it will end hastily, which will become a shortcoming. The content of the inscription on the painting can best reflect the author's learning and character, and it is also the easiest to expand the content and artistic conception of the picture. In addition, it is also very knowledgeable to give a proposition to a painting, and it is generally illustrative and plain, and it is not the superior means after all.
Painters, can't calligraphy bad
Calligraphy in the inscription is an extremely important issue.
In the field of traditional Chinese painting, a painter is not necessarily a calligrapher, but he must know calligraphy. On a deeper level, there may be many calligraphers who can't draw, and even if a good calligrapher can paint, he is not necessarily an excellent painter. On the contrary, it is impossible for a real painter who cannot write, and he will have a level of calligraphy if he has any level of painting. Almost all of the outstanding painters or great painters of the past generations were excellent calligraphers or great calligraphers. It can be said "arbitrarily" that if a painter's calligraphy is not good, his painting is not much better. Because, even if a painter who is really good at painting is not good at writing, he will inevitably have a way to "hide his clumsiness".
Qiu Ying, one of the "Four Families of the Ming Dynasty", is known as a "bad book" in the history of painting, and can only inscribe a typical example of "poor money" in the cracks of trees and stones. However, from Qiu Ying's authentic writings, his characters are very neat, the dot paintings are evenly stopped, and the knots are stable, which can be attributed to the "pavilion style" all the way, although it lacks personality, but it is not so much that it cannot be allegorical. Therefore, Qiu Ying's "poor calligraphy" does not mean that he is not good at writing, but judging from the higher requirements of his contemporaries, he is not very good at calligraphy. Therefore, although painters do not have to be calligraphers, they must at least spend some time to learn and understand calligraphy.
Qiu Ying's "Character Story Book" (Nanhua Qiushui) (Collection of the Palace Museum)
There are two calligraphy requirements for inscriptions: one is to be "smooth" and not "separated", and the other is to be "loose" rather than "tight".
- This is a requirement that the calligraphy style of the inscription be consistent with the style of the picture, the book "Shun" painting, and the painting "Shun" book. The style of painting is meticulous, and the calligraphy is also good for being clear and beautiful; If the painting style is majestic, calligraphy should be bold; If the picture is wonderful, the calligraphy cannot be too charming. So much for. Of course, sometimes it can be funny, but it's much more difficult.
- This is a requirement that calligraphy should not be noisy, the picture is the main picture, and the inscription is the guest, which cannot be mistaken. "Loose" means not deliberately, but naturally and smartly. That's why sometimes I ask a calligrapher who doesn't know how to draw to inscribe a picture, and I always feel that there is an indescribable awkwardness.
As for the issue of the book style, if it can be "smooth" and "loose", all the zheng, grass, li, and seal can be boldly adopted. Ni Yunlin (Ni Zhan) often uses regular script, Fu Baoshi once used seal script, Jin Dongxin (Jin Nong) likes to use official script, and Huang Gall (Huang Shen) is accustomed to wild grass...... None of them are necessary, and they are all right. At the beginning stage, it is safer to use a more regular small row of grass. In addition, the inscription on the painting, especially the freehand landscape, if the picture is not too empty, the glyph is rather small than large. The big one collapses and destroys the picture.
Mao Fan's Selected Poems on Landscape Painting
In short, although the inscriptions on the paintings cover a wide range of areas and the techniques used are varied, as long as you look at the works of famous artists, study more, and practice more, it is easy to suddenly open up and understand everything. As for the inscription on the canvas or at the back of the volume by someone other than the author, it is called "other inscription", which is another topic.
100 secret keys, 200 color pictures follow Mr. Mao Fan to wander between the interests of landscapes, and a book opens a poetic encounter with Chinese landscape painting
It is the best choice for beginners, enthusiasts and even cross-disciplinary cultural explorers
Mao Fan Landscape Painting Open Class
Mao Fan
Simplified horizontal type
32 carat hardcover
978-7-101-16696-5
$98.00
Introduction
Based on Mr. Mao Fan, a famous calligrapher and seal carver and librarian of the Shanghai Research Institute of Culture and History, Mao Fan Landscape Painting Open Class brings together traditional calligraphy and painting knowledge and techniques, and is a humanities and art book for the public.
The book is divided into two parts, the first part is "Theory of Landscape Painting", from the development of Chinese landscape painting, to techniques, terminology, creation and inscriptions, involving theoretical knowledge such as brush and ink, chapter method, etc., and combined with specific creation examples to analyze and explain; The second part, "100 Questions on Calligraphy and Painting", consists of 109 questions and answers on calligraphy and painting, which comprehensively covers the core knowledge and necessary insights that must be mastered in the study of traditional Chinese calligraphy and painting. The book is equipped with nearly 200 masterpieces of the past dynasties, supplemented by Mr. Mao Fan's calligraphy and painting works and teaching videos, integrating practical skills from an authoritative perspective, leading readers to explore the beauty of mountains and rivers and leisurely comprehend the essence of traditional calligraphy and painting art.
About the Author
Mao Fan, whose real name is Luan Guofan, was born in Shanghai in 1949. Young court training, poetry, calligraphy and painting. Librarian of Shanghai Research Institute of Culture and History, National Senior Artist and Deputy Research Librarian. He is now a member of the Chinese Calligraphers Association, a director and deputy director of the Academic Committee of the Shanghai Calligraphers Association, a part-time painter of the Shanghai Academy of Painting and Calligraphy, a director and vice president of the Shanghai Poetry Society, and one of the first members of the Shanghai Maritime Printing Society. He is the author of "Selected Works of Mao Fan" and "Freehand Landscape Painting Creation and Techniques".
Editor's Choice
- Famous artists lead the way, a journey of traditional landscape painting art that spans thousands of years. Written by Mr. Mao Fan, a famous calligrapher, painter and seal carver and librarian of the Shanghai Research Institute of Culture and History, this book brings together his more than 50 years of in-depth research and rich practical experience in the field of landscape painting. With his unique perspective and exquisite skills, Mr. Mao Fan has shared his knowledge of complex landscape painting and his artistic know-how that he has explored for many years. Whether you are a beginner in landscape painting, a lover with a certain foundation, or a reader in other fields beyond calligraphy and painting, you can get inspiration from this book.
- 109 calligraphy and painting questions and answers, open up the key points of knowledge. The first part, "Theory of Landscape Painting", introduces in detail the development of Chinese landscape painting, techniques, terminology, creative concepts and inscription art, so that readers can fully understand the theoretical system of landscape painting; The second part, "100 Questions on Calligraphy and Painting", answers the core knowledge and necessary insights in traditional calligraphy and painting in the form of questions and answers, and provides practical learning methods and skills. The structure of the book is clear and logical, which is convenient for readers to quickly grasp the key points and gradually study in depth.
- Illustrated and illustrated, assisted by teaching videos, the essence of art is within reach.
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(Co-ordinator: Yibei; Editor: Lan Xiu)