Video在线视频

下面我们就开始进行
Now let’s start

用笔的基本方法讲解和演示
Basic explanation and demonstration of brush using

中国画用笔的方法
Chinese brush technique

它是有程序的
has its order

那就是勾 皴 擦 染 点
that is “Gou, Cun, Ca, Ran and Dian”

是中国画一般的程序
these are general procedure for Chinese painting

什么叫勾
then what is “Gou”

勾就是运用我们刚才所说的
“Gou” is by what I just said

那个具有审美内涵的线条
The line with aesthetic meaning

借用物象的轮廓
with the outline of the object

画出线条的主次关系
Draw the primary and secondary relationship of the line

长短关系 粗细关系
Length and thickness relationship

和曲直变化
curve and straight changes

以及浓淡干湿的变化
and changes in dryness and dampness

这就是勾
that is “Gou” technique

勾就是简单讲
for short

就是说借用客观物象
that is, using the shape of objects

然后去表达
then express

我们线条本身的秩序美
The beauty of lines order

我们来看看这个勾
Let’s take a look at this line

这是借用一个山体的一个变化
This is by using the form of mountain

形成一个笔墨的节奏秩序
to form the order of brush-ink method

那么这个勾是中国画的
the “Gou” technique in Chinese painting

起手的一种方法
is the way to get start

这个勾的线条不但有主次
the line of “Gou” has not only the primary and secondary

有长短 有疏密
Have length and density difference

然后有墨色的浓淡干湿的变化
and texture and shade change

这是我们起手的第一法
This is the first method we started

然后接下来的方法就是皴
Then the next method is “Cun” technique

这个皴的方法有很多方法
There are many ways to do this “Cun”

我们这堂课主要介绍披麻皴
In our class we mainly introduces “Pima”

牛毛皴 斧劈皴
“Niu Mao” and “Pupi”

皴是笔墨形式的技法之一
“Cun” is one of brush-ink techenique

那么皴有表现物象结构的功能
Then it got a function of expressing the object structure

但是皴的更大意义
but “Cun” got bigger meaning

并不在于表现物象的形式
Not in the form of the representation

它要超越物象表现
It has to transcend image performance

表达笔墨自身的结构美
Express the structural beauty of the pen and ink itself

显示出更大的表现力
Show greater expressiveness

那么我们这个皴
Then the “Cun”

这个线条皴
and line

主要分直线曲线
Mainly about curve and straight

还有一些折带线
and some fold lines

那么我演示几种
here let me show some

那是它基本的笔形
that’s its basic form

一个中锋短线的线条
A short line of center blade

然后它关键是要解决
its major problem is

这个披麻皴的势态关系
the relationship with “Pima”

那么什么叫势态关系
Then what is relationship between tendencies

就是两个倾向性完全不同的
that is two opposite tendencies

然后还能够和谐
and cooperate together

统一在一起的
united together

这么一个有粗细有长短
Such combination with different thickness and length

有浓淡然后有纵横关系
and also has different position relationship

这么一种表达
this expression

是它们的一个组织关系的
is an organizational relationship of them

一个表达
an expression

这就是势的关系
This is the relationship of the tendency

那么我现在演示
now let me demonstrate

这个一条线没有势
This is a line that has no potential tendency

那么第二条线出现就有
Then the second line appears

它们之间就有关系了
There is a relationship between them

首先有长短关系
First, there are long and short relationships

还有它不是一个平行的
And they are not paralleled

它是有交叉的
It is crossover

纵横交叉的感觉
The feeling of cross and cross

然后三条线它就出现了
Then third line

主次关系和疏密关系
Primary and secondary relationships and sparse relationships

然后我们多条线
Then we have multiple lines

这里有浓淡 有干湿
There is shading here, wet and dry

这里没有一笔是平行的
None line here is parallel

也没有一笔是
and none is

是应该长短差不多的
same length

然后这里有干湿
Then there is wet and dry here

有浓淡 有纵横 有黑白
There is a shade, there is a vertical and horizontal,
there is black and white

这叫披麻皴
This is called “Pima”

那还有一种皴叫牛毛皴
there is another one called “Niumao”

也叫解索皴
or as known as “Jiesuo”

它那个用笔的基本形象
Its basic way of brush working is

是侧锋曲动用笔
to use the side of brush

这个笔要干一些
with a dry brush

第二条线第三条线
the second line and the third line

它们这个势态关系
Their relationship

和披麻关系是一样的
It is the same relationship as “Pima”

由于它这个基本的形状
Due to its basic shape

是松毛的
it’s fluffy

所以它皴出来的感觉
So it feels like coming out from sketch

和这个披麻皴的这个表现力
the performance of “Pima”

是不一样的
is quite different

也叫它是解索皴
it also known as “Jiesuo”

就是解开绳索那个意思
which means open the folding rope

那么还有一个线皴我们常用
then there is another type of “Cun” we often use

叫折带 折带皴
it’s called “Zhedai”

先横笔入笔走
first move the brush horizontally

然后侧锋
then drag the brush sideline

侧锋下来
use the side of brush

这是它的基本的用笔方法
this is the basic method of brush work

那么组织起来
then after organize them together

它们之间就得有组织态势了
it got tendency

疏密 大小
density and size difference

这个长短主次 包括浓淡
This diversity of line including the shade

这一定要侧锋拖着笔走
it must be working with the in side part of brush

顺锋走
Going forward

用笔很虚的
and lightly

这都是属于线条的皴法
This is all about the line

那么除了这些用线的皴法
beside these method of “Cun”

还有一个和用线皴
there is another totally different way to do “Cun”

截然不同的是面皴
it’s the side “Cun”

这个面皴是指的
it means

各种不同的面
multiple sides

比如说大小长短宽窄
For example, size and width

浓淡虚实疏密等这些变化
These changes, such as shape and density changes

为主要组合形式的一种皴法
As a method of depreciation

统称为面皴
in general, we call it the side "Cun"

其中包括斧劈皴 马牙皴
These include “Fupi” and “Maya”

拖泥带水皴
and drag “Cun”

这些都是面皴
they are all side “Cun”

那么我来表现一下面皴的
Then I will show the following

基本形象
basic form

面皴就是把笔放平
side “Cun” is to put the brush horizontally

拖着用笔
then drag the brush

不能直锋走
not going straight

然后用侧锋下笔扫
Then use the side brush

这叫斧劈
that’s called the “Fupi”

斧劈柴痕非常爽利
the character of “Fupi” is quite sharp

这是它的基本的笔型
this is its basic form

我们的笔型有大有小
Our brush has different size

有长有短
it got long and short ones

短 更小 更小 长
and even shorter or longer ones

我们下笔这个头
the head of brush

这个比较圆润厚重
is quite round and heavy

就没有锋利的感觉
without the feeling of sharpness

所以下笔就得走
so it has to be moved once touch paper

一直送到位
Always delivered to the position

不是挑剔 不是这么挑剔
but not picky

一挑剔这个很厚重
once you go picky it turns out heavy

然后就变成鼠尾
then will form a rat tail

它就没有斧劈柴痕的感觉
without the appearance of axel cutting out that feeling

这是斧劈皴
here is “Fupi”

那么还有一种就是点子皴
Then there is another kind of “Cun” is the dot “Cun”

点子皴基本的笔法
its basic strokes is

就是非常短小的一个小短线
a very short short line

或者是一个点
or a dot

问题是我们要是组成
problem is if we are going to form

一个面积的这个点子皴
a big area with this dot

这个组成就要叫点势
This composition is called the trend

那么这个点势怎么办
Then how to deal with this trend

就得有大小主次
You have to have the primary and secondary dots

然后疏密开合
and different density

浓淡干湿
different wetness

点势
the trend

这是皴法
this is “Cun”

皴法下来我们要讲一些
in the next we are going to talk more about different “Cun”

下一个技法就是擦
nest technique is “Ca”

中国画的用笔擦
the “Ca” technique in Chinese painting

这个擦一定是在勾皴以后
is after “Gou” and “Cun”

我们要松缓一个
it needs a more merge together

艺术形象的结构
art form

或者是在加强一个
or to enhance

厚度的时候
the thickness

往往需要擦的用笔
that type of brush-work

这个擦的用笔
the technique of this

基本的技法
and its basic brush movement

应该是这个笔非常干
is first the brush has to be very dry

要想笔要想干
if you want a very dry brush

就得在这个纸撤
You have to pull out water from this paper

把水分撤掉
remove the moisture

可以重墨擦也可以淡墨擦
it can work with light or heavy ink

但多半在擦的时候
but most of time

都是中墨到淡墨之间
it’s in between

很少用重墨擦 但也有
very seldom use heavy ink, but not never

那么淡墨擦
so when work with light ink

就是这个笔散锋
and the brush needs to be loose

不是尖锋 散锋
not pointy, loose tit

笔很干
very dry brush

通过这个擦
with this movement

把许多结构就给松缓了
the structure became much more relaxed

舒缓了
and loose

这是一种方法
this is one method

这是淡墨擦
with light ink

一定要侧锋
and it has to move with brush side

用笔的根部和中部
use the middle and bottom of brush

不用笔尖
not the tit

笔尖是擦不出感觉来的
the tit isn’t able to make this feeling

这是擦
here is “Ca”

擦完以后我们那个
after “Ca”

有一个染的过程
we also have a dyeing process

这个染的过程
this dyeing process

一般在水墨山水上很少染墨
seldom in landscape painting

一般是染颜色
Generally dyed colors

这个中国画的颜色
color in Chinese painting

要不 碍墨的话
should not interference ink

它都用一些这个植物颜色
generally we use color that made from plant

植物颜色是透明的
it’s transparent

我们的墨色是怎么变化的
it’s not gonna interference the movement of ink

它都可以不妨碍
not interference

那么我们要是用矿物质颜色
or we can use mineral pigments

我们那个墨色的这个变化
the change of ink

就会削弱
would be weaken

所以说削弱了怎么办呢
how’s so

中国绘画这是一个
Chinese painting

很讲层次的
requires more attention in layers

说我们还用一个点
like when we use a dot

这个点的基本技法
the basic technique of dot is

这个点它不是一个单纯的
it’s not a simple question about

点几个点的问题
the amount of dots

当然也有点
but of course there are dots

比如说这个藏锋点
for instance, this dot without tit

我们在很浑浊的这个
we add it on this blurry

既有墨又有颜色的
colorful ink form

这么一个形象上
an art form

然后点一些比较重的颜色
then we add some more heavier color

就会提醒我们
it could remind us

那个墨色的亮度
the lightness of ink

它那个变化的程度
the extent of its change

同时这个点也可以舒缓结构
simultaneously the dots could also soothe the structure

但是有些时候我们这个点
But sometimes the dot

不是抽象意义的点
is not the dot that has abstract meaning

它可能比如说
it might say

在这个很脏的色墨
this muddy ink appearance

这个形象体上
base on this form

我们画一些枝干
we add more branch

重墨的枝干
with heavy ink

这个都叫醒墨的过程
this is called the process of awake ink

那么这个点的意义
then the meaning of this dot

其实就是最后
is actually at the end

我们这个画面要有一个
our painting needs to have a

醒墨的过程
process of awake ink

所以说这个点也非常有意义
that’s why the dot in Chinese painting got meaning

所以说这个中国绘画
That’s why Chinese painting

很讲程式
very serious about the procedure

然后这个方法也比较奏效
and the method is effective

只要我们一应用
once we use it

就效果非常好
it works

以上我们介绍了
above all, we just introduced

笔自身的表现性
the performance of brush

即内蕴的讲究
and more inner thing

这些东西已经成为了
this requirement has also became

品评中国绘画的
main important factors in

重要的因素之一
Tasting Chinese painting

中国画论里头在用笔和用墨上
In the theory of Chinese painting, about
the method of ink and brush work

这个历代总结了很多经验
it got a lot experience during generations

我们通过实践可以体验
we could practice it

但是翻开历史上的画论
open these theory in history

有很多的品评标准
there are many standers

我们都可以研读一下
that we can study