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刚才我们介绍了这个
We just introduced

笔墨的概念和笔墨的材料
The concept of brush and ink

那么我们现在介绍
Then we now introduce

笔墨的基础技法
Basic techniques of brush and ink

首先介绍用笔
let’s start from brush

中国画的用笔
brush work in Chinese painting

分中锋 侧锋 藏锋 露锋
divided into the center, side, hide, expose style

和顺锋 逆锋
and following and against style

我现在演示一下
Now I will demonstrate it

所谓的中锋
The so-called center style

就是我们画一根线条
That is, we draw a line

这个笔锋
the tip of brush

是在这个线条的中间
is in the middle of this line

这叫中锋
that’s called the center style

这叫中锋
center style

那么侧锋是把锋侧过来
Then when side the tip

笔锋在一侧
the tip of brush goes to the side

这叫侧锋
this is called the side style

侧锋的表现性
The performance of the side style

肯定没有中锋表现性
is definitely not similar as the center style

那么圆润 那么厚重
which contains more mellow and thick

但是它侧锋也变化比较丰富
But side style also has various appearance

略微比较侧薄
Slightly thinned

那么逆锋顾名思义
The against style is just as its name suggests

就是逆着锋走
which means against the brush tit

有苍辣之感 比较拙
it could create a raw line feeling

顺锋是拖着锋顺着锋走
follow style is dragging the front and draw the line with following the brush tit

和逆锋相反
it’s quite opposite compare to the follow style

然后我们介绍藏锋
then now we introduce the hide style

藏锋的这个概念
the concept of hide style

是把锋藏起来是不露的
is to hide the front tit

不露的点 不露的线
turns into a line with unexposed start points

那么露锋和它相反
Then expose style is an opposite way

是把锋这个露在外边
It more into expose the front of the brush

这锋都是露在外边的
the front tit is always exposed outside

基本的用笔的方法
These are basic brush-work style

就是这么几种
almost like these

当然这几种是有要求的
Indeed these are required

北宋郭若虚提出用笔失当有三
In the Northern Song Dynasty, Guo Ruoxu proposed that there were three mistakes in operating brush

一曰板 二曰刻 三曰结
One is board, two is stuck and the third is knots

板者 腕弱笔痴 全亏取与
“Board” means the painter’s wrist is weak and so does the line appearance

状物平褊 不能圆混也
The shape of form is flat and lack of roundness of line quality

刻者 运笔中疑 心手相戾
“Stuck” means not confident about brush in hand, hand not capable to interact with one’s mind perfectly

勾画之际 妄生圭角也
the form turns out on paper not as satisfied as designed

结者 欲行不行 当散不散
the “Knot” means the part should be intense turns out to be an opposite way

似物凝碍 不能流畅也
and not fluent

黄宾虹依据用笔的审美原则
Huang Binhong relies on the aesthetic principle of using brush

提出
pointed that

作画最忌描 涂 抹
the most taboo thing in painting is track, smear and wipe

描 笔无起伏收尾 也无一波三折
Track: the trace of brush has no certain beginning and ending, and lack of twists and turns

涂 是仅见其墨 不见其有笔
Smear：it only shows up the form of ink but without the way of operate brush

即墨中无笔也
which is called ink without brush

抹 横拖直拉 非人用笔
The wipe means wipe horizontally and pull straight which is not operate the brush

是人被笔所用
but be operated by brush

描是指作画用笔起讫交待不清
Trace means the way of using brush isn’t clear

没有一波三折的韵味
lack of twist and turn

涂是指只见墨痕而无笔致
smear is ink form shows no track of brush

即墨中无笔也
which is ink without brush

抹是指横拖纵拉
wipe is wiping brush horizontally and straightly

没有充分发挥笔毫特有的弹性作用
that didn’t fully operate elasticity and flexibility of brush

另外还得克服什么呢
what else have to be overcome?

滑软 什么叫滑软
Slip soft, so what is slippery?

滑软就是轻滑挑剔
Slip is too much smooth and picky

用笔柔软
Using brush too soft

我们用笔力量不够就是滑
Without enough power of operating brush, it’ll turn into be slippery

速度特别快 力量不够
it easier to be too fast in terms of powerless

很轻滑 力量注不进去
too slippery and so as not enough intensity goes into paper

这种用笔就是滑
this type of operating brush is slippery

软是我们的力度没到位
Soft means our strength is not holding long enough

挺不住
can’t stand it

我们转一个圈笔塌了
after a circle

这就是软
the strength lost

在我们那个初学的过程当中
In the process of our beginners

这个滑软是一个主要毛病
This slippery is a major problem

然后涂抹是一个主要毛病
Then smearing is another one

这个用笔是有追求的
there is many requirements in using brush in terms of ideal trace

那要追求笔力雄健
then it has to be strong

这个笔意要轻润
and the spirit of using brush has to be light simultaneously

黄宾虹在用笔上
Huang Binhong

总结了几个美的标准
summarized several standers for using brush

一个是用笔要平用笔要圆润
one to make the trace of brush to be rounded

用笔要有留得住的感觉
with a feeling that the track can be stayed

用笔要重顿
the way of using brush needs to have a feeling of pause

然后用笔要变 有变化
then the trace of brush also needs to have twist and turns

那么什么叫平
So what is flat

这个平就是用力比较平稳
this flat means the force of holding a brush needs to be as steady

如锥画沙
as holding an awl and paint in sand

这个力要送到
The force needs to be thorough

这个力到这儿
like in here

这个用力都很平
the force is steady

不是忽重 忽轻
instead of flickering

这叫平
it is so-called ping

一般我们初学呢
Generally as beginner

在这个用笔的把控上
It’s very common to make many mistake

这个常出的毛病
in control brush

就是这个用力不平
the problem is flickering

忽轻忽重这是一个毛病
the flickering thing

然后用力送不到
or the force is not thorough enough

从这儿到这儿这个力量
from here to here

总是到这儿就没有力量了
There is always no power when you come here

它就没有鼠尾
it has no “rat tail”

有挑剔的感觉
which made a picky feeling

这是用笔平
which means flat in operating brush

用笔圆
to make it round

就是用笔出现的线条要圆润
The lines that appear with the brush should be rounded

我们刚才讲中锋用笔
previously, we talked about brush operating

就是用笔圆润
which is round in brush

侧锋用笔它就不圆润
the side style is typical not round

所以说这个用笔圆
that’s why we say round in operating brush

就表现了一种用笔的力度
shows the a kind of strength in brush

圆润 厚重
Round and heavy

这就是圆润
here is the round

这个黄宾虹讲圆要如折钗骨
This what Huang Binhong’s speech, like floding hairpin?

就像如折
just like folding or unfolding

金钗银钗那样一个感觉
a gold or silver hairpin

留是留得住
the trace can be stayed

这个留
the stay

黄宾虹也有一个形容词
Huang Binhong also had an adjective

叫如屋漏痕
calling the track of house leak

就像屋漏痕那样一个
just like the track of ruin on roof

水在墙上下注
the water runs down on surface of wall

然后行走特别滞涩
and it runs especially stagnation

这个线条比较忌讳滑
this type of line is a bad example

那留就是它的相反的概念
it’s typical the opposite

就是留得住
the mean idea is to keep the line stay

那也有的这个画论里头讲
We’ll go further in painting theory

叫积点成线
it’s called form points into line

但是我们没有那么做作
but may not necessarily that artificial

就是你有那个留的感觉
the feeling of staying is the point

就是留的审美意韵
with the aesthetic meaning of staying

平 圆 留 重
flat, round, stay and heavy

重就是很有重力
heavy means it has to have the quality

这个画论里也讲
we’ll also talk more in painting theory

重如高山坠石
heavy as falling rock

我们点一个点
we draw a point

轻微地点一点
a small point

和高山坠石的点点
compare to a rock point

那是不一样的
that’s very different

就非常肯定厚重
the feeling of heaviness

这就是重
is the heaviness in painting

我们行线用笔也非常有重力
Our line also requires the quality of heaviness

能吃得进去 那叫力透纸背
it has to be thorough, the force needs to go into papers

我们正面画的背面都能吃透
The back of our front painting can be thoroughly penetrated

这就是把笔的注力
this is the force of brush

已经注进我们这个线条
the force went into the line

这就是重
is the so-called heaviness

变这就是我们的笔要变化
the change means the way of using brush need to have various

要灵动不能死板
to be more vivid instead of rigid

这是用笔的几个要求
This is a few requirements with brush-work

也是我们的审美要求
and also our aesthetic pursuit

下面我们还要介绍
Next，we’ll introduce

用笔以外
beside brush work

还有一个重要的一个技法
another important technique

就是用墨
is ink-work

这个用墨是咱们这个
the way of playing with ink

笔墨形式
the form of ink and brush

另外的一个形式表现的
is another territory of expression

一个层面
another level

非常重要
it’s very important

中国画这个墨荆浩讲
Jinhao used to talk about ink-work

是在唐代时候兴起了
it started during Tang dynasty

这么一个以墨色来表达
Such an expression in ink

我们所感受到的
what we felt

宇宙那种内在结构的
is the beauty of

一种美感
the inner structure of the universe

那么大千世界
so as the entire world

是一个很五光十色
it’s a colorful

色彩缤纷的
and multifarious

这么一个很复杂的
complicated

这么一个客观现象
objective phenomenon

但是中国人
But Chinese people

他把它概括成为
generalized it to

一个笔墨的表达
an expression of ink and brush

这是一个
which is a

其实是一个很抽象的表达
quite very abstract expression

这个墨色
the appearance of ink

通过浓淡干湿焦
with intense, light, dry, wet and burnt

这五色这个控制
five different level of appearance

这一控制以后呢
once we get to master it

就能形成了某种节律
Can form a certain rhythm

现在我来讲浓墨
Now let’s talk about the intense ink

浓墨就是我们从墨盘
Intense ink is what we came from our ink tray

调出来稍微调一下水
slightly mix more water

也就属于比焦墨
it’s kind of like the burnt ink with more water

稍微水分大一些
slightly more water

而且非常重的一种墨
and very heavy ink

这是浓
this is intense

那么淡墨
so the light ink

就是水分非常大
is more watery

然后和重墨相对而言
compare with intense ink

它是有变化的
it got more variety

一个重 一个淡
one is intense and another is light

但是这个之间
but between them

它有无数的层次
it has many layers

我们其实用两个字来概括
in two words

浓淡
intense and light

这个浓淡之间这个变化
This change between shades

是这个层次非常多
it has many layers

然后干 刚才我们擦这个笔
Then dry, we just wiped this pen

就是干笔
it’s called dry brush

那么什么叫湿呢
then what is the wet brush

和这个擦这个笔的
rub this brush with this one

干墨这个笔
the dry brush

这个相对的这就是湿
is compare to wet

这就是湿
here is wet

如果在造型上
In forming

有干笔和润墨之间的对比
compare between wet and dry brush

这个对比有强大的
there is strong contrast between them

这个视觉冲击力
This visual impact

但是我们那个毛笔非常灵活
But our brush is very flexible

有些时候一笔下去
Sometimes after one stroke

有干湿浓淡
there could be five different shade of ink

比方说我们的皴
such as “Cun”

我们的皴开始的时候很重
When at beginning, the ink could be dark and wert

速度一快了就干
when the speed is fast, it start to be dry

就非常干
then even more dry

然后速度一慢了又湿
after slow down a little, it turns out to be wet

稍微蘸点水就更淡更湿
adding more water, more watery

就这个干湿浓淡的
this is the different between each shade and wetness of ink

这个奇妙的这种变化
such interesting change

是咱们中国绘画的一种表达
It is an expression of our Chinese painting

那为什么要有干湿浓淡呢
then whey we need to have such change

干湿要如果用
if you want to play with different dryness

现代的语境来讲
in Modern context

干湿本身是一个质地变化
dry and wet itself is a change of texture

干的质地和湿的质地
the texture of dry and wet

浓淡当然是一个形的
intense and light is the color change

颜色的变化
of form

这就是笔墨它的表现力
This is the expressive power of brush and ink

但是在近代
But in modern times

这个墨通过艺术家的实践
This performance of ink and brush has moved forward

有很大的拓展
by practice of artist

又出现了什么呢
then what happened

又出现了破墨 泼墨和积墨
it came out the break ink, splash ink and build-up ink

还有宿墨
and the after night ink

下面我演示一下
let me demonstrate it

泼墨是以水量特别大的
splashing ink is especially large in water

大笔在纸上皴擦（揉按）
with a large brush squeeze on paper

浓淡兼施的
both dark and light

这么一个自由的一种挥洒
such a free kind of sway

水墨淋漓
with water and ink

就好像是这个墨
it just like splash ink

泼在纸上
on paper

但是这个泼
but this splash

虽然感觉是无法
Although it feels impossible

其实它在拖泥带水中
Actually it has it’s own structure

里头自己本身有笔墨结构
inside the “muddy” water

我来演示一下
let me demonstrate

这需要大笔
it needs a large brush

泼墨 水分很大
and a lot of water

好像不起笔
seems didn’t start with brush

但是中国画那个纸非常好
but that’s the advantage do Chinese paper

宣纸
the Xuan paper

这个虽然不起这个水分
Although it contained a lot of water

是有笔痕
it got the trace of brush

水吃出来以后
when the water come out

我们再复那个笔
repeat the same brush stroke

那个笔就能看出来
the trace of brush also show out

一笔下来有墨色变化
after one stoke, it has different ink shade

我们那个花鸟 荷花
in the flower-bird painting, the lotus painting

就是用这种方法
we always use this way

叫泼墨的方法
it’s called the splash ink technique

来完成一个荷叶的表达
To complete a lotus leaf expression

这个荷叶的表达
The expression of this lotus leaf

墨色的用笔的
the way of using brush

这几笔的组织
these few organization

通过水辙
through the trace of water

都能表述得很清楚
it can be seen very clear

我们的用笔的秩序
Our order with the brush

就表达了我们审美主体的
expressed our aesthetic subject

内心的审美秩序
and our inner aesthetic order

这一点是一点都不带含糊的
This is not ambiguous at all.

所以中国画的用笔
So the brush for Chinese painting

是非常肯定
It is very positive

果断而且非常明确
decisive and clear

含糊不得
with no uncertain

那么泼墨
so the splash ink

我们现在已经了解了
we already understand

但是我们这个中国画的
but in our Chinese painting

这个技法还有一个破墨
there is another technique, which is break ink

这个破墨分两种层次
the break ink could break ink into two layers

一种是浓破淡
one is to use the intense ink break light ink

现在我们在这个基础上
now base on here

我们来一个浓破淡
we could make another one which is to use the light ink to break the intense ink

淡墨
light ink

这是浓破淡
here is the intense break light

在淡墨上用浓墨来破
on the surface of light ink, we add intense ink

而且非常浑厚融合非常好
and they integrated very well

尤其是在很湿的
especially in very wet

这个墨底上 我们加重墨
On the bottom of the ink, we add ink

就显得非常浓厚
It is very strong

浓破淡
To use intense break the light

破墨还有一个淡破浓
Another one is to use light break the intense

这个淡破浓一般情况下
usually

重墨先施加
we start with the dark ink

但是重墨往往很焦黑
But intense ink is always very burnt black

但是我们经常的用水
so we add water

但是我这个水
but in water

稍微加点洗涤剂
we add a little bit detergent

通过弹洒
and by bombing

或者是用笔画
or by brush

它都会把这个浓墨吃开
It will disperse this thick ink

吃开的一个
disperse it

就是不这么一个
like until

笔墨痕迹这么清楚的
the trace of ink form become unclear

笔墨现象
such phenomenon

那么我们在这个
Then here

比较模糊的笔墨现象
this unclear ink phenomenon

再次加工
we keep work on it

这个运墨和走墨
the process of ink and brush movement

需要一个过程
it needs time

我们先放这儿
let’s leave it for here

这是这个浓破淡 淡破浓
This is two type of break ink technique

积墨不是在一处
the build-up ink

反复地勾描
is not keep adding ink or repeatedly in one place

它是经过几层的
it’s multiple layers

这个笔墨表达
with an ink expression

来完成一个艺术形象
that shaping a art form

和笔墨形式
and brush-ink form

那么比如说
such like

我们先有勾
we could start with a hook stroke

勾
a hook

当然这个勾
but this hook

这个浓淡干湿都有
has shade of both wet and dry

然后又有皴
and also texture difference

皴
“Cun”

皴完还有擦
After rubbing, there is still rubbing

这就在这个笔墨形式上
This is in the form of this pen

我们已经施加了三层
We have applied three layers

擦 我们还有染
After wipe, we still have dye

染我们也可以染颜色
We can also dye color if dyed

当然我们现在可以染墨
Of course we can now dye ink

在未干之际
when it still wet

我们还可以施加 点
we can add dots

再塑造这个形象的丰富程度
Reshape the richness of this image

反复的勾加
Repeatedly add

在这样一个笔墨的
in such a ink-brush

一个形象下
form

这个我们能画多少遍
How many layers can we apply this?

七遍八遍不断的积加
after seven or eight times

让它最后特别丰富
it would be especially rich at the end

那么这个方法叫积墨
Then this method is called ink accumulation or ink build-up

还有一种就是这个宿墨
There is another kind of method is called “Sumo”

宿墨是一种南方画家
“Sumo” was found by a southern painter

经常使用的一种墨法
who used to work with this method

它是隔夜的用墨
It is an overnight ink

它不是研的新墨
It is not the fresh ink grind out from ink stone

是这种墨研墨三天之后的
It’s the ink after three days

一种墨
from ink stone

那么这种墨三天以后
so during these tree days

这个已经脱胶了
It has been degummed

脱胶的墨下笔以后
After degumming ink

它的墨不走水走
the ink not gonna move around but the water could spread out

是有笔痕的
and leave the trace of ink

这是宿墨
this is “Sumo”

这个水头越大
the more water in it

水跑得越多
the more water movement

然后笔痕留下
and then leave the trace of ink form

这个墨的这个笔痕
so the shape of ink form

非常清楚
will be very clear

有一个弱点就是一遍成
a weakness that is it can only be done by once

这个再附加
if we go build-up way

再加上宿墨
with “Sumo”

就没有这个效果
it doesn’t work

这个效果就失去了
the effect will be gone

有一种最大的一个弱点
another biggest disadvantage of “Sumo”

就是宿墨
is that

这个笔墨形式比较薄
the form shaping by “Sumo” is relatively thin

不像活墨那么浑厚
Not as thick or heavy as fresh ink

这是宿墨
this “Sumo”

那么我们接下来要演示用水
Then we will demonstrate the water next

常讲的是水带墨 水破墨
I often talk about water with ink and ink

水调墨 色调墨 水渍法
Water-adjusting ink, color ink, water stain

这些都是古人的方法
These are the methods of the ancients

那么我演示几个典型的
Then I demonstrate a few typical way

水调墨
of water adjust ink

就是我们那个清水
that is with our clear water

是一个干净的用笔
and clear brush

然后我们微微的调点墨
then slightly add a little ink

就是水调墨上去以后
After mix water into the ink

是有墨的痕迹的但是很弱
It is a trace of ink but very weak

这个水渍法
This water stain method

有色彩水渍和清水渍
has color stains and water stains

我们现在是清水渍
We are now water stains

我们无论怎么点染
No matter how we dye

这个是有墨痕的
it got ink trace

这就是这个渍水
This is the stain method

这个渍水法
this method

也可以用水调
could also adjust with water

微微调点颜色
and slightly add paint into it

然后弹洒在我们这个宣纸上
Then pop it on our rice paper

然后想获得更好的效果
to get better results

更有晕化的效果
More watery effect

那么就可以用水调色
Then you can mix color with water

和水调墨
or add water into ink

这个泼水
the splashing water

我们其实刚才讲泼墨
actually we preciously talked about splashing ink

那个泼水的方法也差不多
it’s similar to that method

泼水一般我们现在是很少用
but more rare for now

但是这个铺水还是常用的
But this paving with water is still usual

因为画完一遍这个比较干涩
Because it’s dry after painting it once

我们需要晕化
so it needs more vignette

我们就用大笔铺个水
we take a large brush and pave with water

这是用水
this requires water

这堂课讲到这儿
until here

这个笔墨的基本技法
the fundamental method of brush-ink

笔墨的概念 笔墨的材料
the concept and material of it

我们都已经做了演示
we all have demonstrated it

演示了用笔 演示了用墨
we showed method of ink and brush

演示了用水
and the way of using water

这是这堂课
in this class

就是基本上的这个演示内容
Basically it’s all content

就到此结束
That’s it