At first glance, Su Jing's paintings are messy and fragmentary, just like a lot of garbage. Now I draw this, now I draw that, and only part of it is drawn in a messy manner. However, everyone could not help but be surprised when they took a closer look at Su Jing's writing.
It is obvious that Su Jing is not deliberately painting something, but is learning various techniques.
The techniques of Chinese painting can actually be understood as the way Chinese painters use the brush, that is, the techniques of using brushes and inks resulting from the brush. The ink technique includes the technique of color. In the development process of Chinese painting, especially after the Yuan Dynasty (the intervention of literati painters), the lyrical meaning of Chinese painting became more and more intense. The meaning of the brush and ink of Chinese painting is no longer a simple technical issue, but a synonym for Chinese painting. The spirit of Chinese painting is permeated in the brush and ink concept of Chinese painting. Simply put, the brushwork of Chinese painting is composed of points, lines, and surfaces, and the use of lines is the most important. The ink method uses the function of water to produce different changes of thick, light, dry, wet, deep and shallow. The method of writing lines in Chinese painting is called "using the pen", and the method of using ink in Chinese painting is called "using the ink". Whether using pen or ink, they are both broad, profound, and all-encompassing, and can be divided into many types.
For example, when using a pen, there are two types of pens: center pens and side pens. The center pen should be held upright, with the tip of the pen in the middle of the ink line. The force of the pen should be even, and the pen tip should be perpendicular to the paper surface, so that the effect is round and steady. Xiangfeng holds the pen sideways, with the tip of the pen at the edge of the ink line, and the tip of the pen forming a certain angle with the paper surface. The force is uneven, sometimes fast, sometimes slow, sometimes light, sometimes heavy, and the effect is rich in hairiness and astringency.
It is also divided into Shunfeng and Nifeng pens. Shunfeng generally means that the movement of the pen tip is consistent with the tilt direction of the pen barrel, and its effect is smooth and straight. Ni Feng refers to the reverse direction of the pen edge (that is, the opposite direction of the habitual pen movement), and its effect is dry and clumsy.
It is also divided into Jufeng and Sanfeng brushes. Jufeng means that the brush edges are brought together to form a single stroke. Scattered front refers to the spread of the pen edge, which is in the shape of multiple fronts (also known as "flowering pen"), and its effect is dry and varied.
In addition, the speed of using the pen will also have a great impact on the picture. When to use what brushwork and what effect to achieve are ever-changing. Just the basic skills are extensive and profound.
In addition, ink is used. In ancient Chinese painting, there was a saying that ink can be divided into five colors, that is, six effects: black, white, thick, light, dry, and wet. The method of ink is to reflect the rich changes of painting, "the pen is the bone and the ink is the flesh". So the ink method can be said to be a method using water. According to the amount of water, we divide it into five levels of changes: burnt, thick, heavy, light, and clear. Because ink has new, old, old, and changed qualities, the quality of ink is divided into five qualities: new, burnt, settled, retreated, and angstrom. Due to different treatments of ink color, different changing images of ink are produced, which can be divided into five feelings: dry, dry, moist, wet and dripping. In pen and ink, the brushwork emphasizes internal strength, while ink emphasizes "living" and "change".
The predecessors have a lot of experience in using ink. To sum up, there are seven main methods: thick ink method, light ink method, burnt ink method, accumulated ink method, broken ink method, accumulated ink method, and splashed ink method. Various ink techniques are also ever-changing.
It can be said that Chinese painting is difficult to learn, even if you want to get started. It may take a lot of time to learn one of these basic techniques. It will be even more difficult to learn them all and master them. I am afraid that after two years of learning, the progress will be limited. And Su Jing is now using all kinds of techniques. Originally, when I just started learning, if I was so greedy, I might not be able to learn anything. But look at Su Jing, the first time he used the center, there may be some shortcomings, but the second time he used it, it became much better, the third time he used it, it was close to perfect, and every time he used it after that, it was not the same without exception. Just pick it up. The same goes for other brushwork and ink techniques.
In other words, at first glance, Su Jing drew some messy things, but he was quickly becoming proficient in various techniques at an extremely terrifying speed. He used various difficult techniques with ease.
"Oh my god, am I dazzled? Splashing ink, he actually learned to splash ink in two or two times?"
"He actually learned all kinds of difficult techniques that we couldn't learn well after a long time."
"Oh my god, look at the half of the mountain he just painted. Was this painted by a beginner in Chinese painting?"
"Isn't he already a master of traditional Chinese painting and deliberately pretending to be a pig to eat the tiger?"
Many people present felt that Su Jing was not a beginner, but a master of traditional Chinese painting who had studied for a long time. She was deliberately pretending to be a pig and learning step by step. Otherwise, it would be impossible. There should be no learning in this world. Someone who learned Chinese painting so quickly. Otherwise, this is simply a monster.
Cheng Shiyao and Zhu Yan looked very surprised, while Huang Jinghong frowned slightly. Su Jing was excellent in other aspects, so that was it. He thought that at least in Chinese painting, he had the advantage, but now, his self-confidence It was a huge blow. Regardless of whether Su Jing has incredible learning ability or has been a master of Chinese painting for a long time, the result is that Su Jing's level of Chinese painting surpasses him every minute.
However, although Cheng Guyi was shocked, he believed that Su Jing was indeed a beginner. Every stroke and every painting he made was to verify the question he had just asked him about. It seemed like a mess of paintings, but in fact he did not waste any pen and ink. . Cheng Guyi was excited. He knew that he had met a genius, a super genius, and a peerless genius.
In fact, it is not an exaggeration to say that Su Jing is a genius. Su Jing has several advantages that ordinary people do not have. First, he has long been proficient in calligraphy and can be called a master of calligraphy. Although calligraphy and traditional Chinese painting cannot be confused, there are similarities in the use of brushes and ink. A calligrapher A master can use pen and ink much more skillfully and naturally than ordinary people; secondly, his memory and thinking ability are far beyond ordinary people. He can clearly remember every detail of every technique and will not scruple when writing. Forget about this, he can think clearly about all aspects at once. He is obviously a novice, but he is as confident as a veteran when writing. Thirdly, his physical fitness is far beyond ordinary people, with sharp eyes, steady hands, and calm mind. If he wants to write down one micron, it will be one micron, not even half a point more. This kind of control allows him to write with ease. In addition, Su Jing is also a spiritual master. He can use his mental power to virtually construct a picture, making every stroke and every painting more precise.
Combining the above points, Su Jing can learn to reach a level beyond the reach of ordinary people. He is not only a genius in painting, but also a genius among geniuses in almost all walks of life.