It is also divided into the Smooth Brush Method and the Counter Brush Method. The Smooth Brush Method generally means that the stroke of the pen is in the same direction as the inclination of the pen, and the effect is smooth and straight.
Counter-brush is the retrograde of the pen (that is to say, the direction of the stroke of the habit is reversed), and its effect is dry and clumsy.
It is further divided into the Gathering Front Brush method and Loose Front Brush Method. The Gathering Front Brush method means that the strokes are gathered together to form a single stroke.
The Loose Front Brush Method means that the front of the pen spreads out, showing a multi-front shape (also known as a “flowering pen”), and its effect is dry and varied.
In addition, the speed of using the brush will also have a great impact on the picture, when to use what kind of brushwork, and what kind of effect is to be achieved. There are ever-changing methods and just the basic skills are broad and profound.
In addition to the use of ink, color is also important. In ancient Chinese painting, there is a saying that the ink is divided into black, white, deep, light, dry, and damp which would produce six effects when used in a painting.
The method of ink is to reflect the rich variation of painting, “the brush is the bone, the ink is the flesh”. So the ink method can be said to be a method of using water.
According to the amount of water, we divide it into five ladders of change: coke, thick, strong, light, and clear. Because the black ink has new, old, and change, and the ink quality is divided into five qualities: new, coke, sinking, retreat, and receding.
Due to the different treatments of ink color, different images of ink change are produced, which can be divided into senses of dry/wet, wet/dry. In brush and ink, brushwork emphasizes more internal force, while ink emphasizes “live” and “change”.
Many people have a lot of experience in the method of using ink and to sum it up, there are mainly seven methods: The thick ink method, the light ink method, the coke ink method, the black ink method, the broken ink method, the ink accumulation method, and the splash ink method. These seven ink methods are also ever-changing.
It can be said that Chinese painting is difficult to learn, and it is not even easy to get started.
Learning one of these basic techniques may take a lot of time, and to learn them all and integrate them is much more difficult, and I’m afraid that progress would be limited even after two years of intense study.
And Su Jing is now using all kinds of basic techniques at once. Originally, once a student start to learn Chinese painting, he would be afraid that he would not be able to learn anything if he became too greedy.
But looking at Su Jing, it seems that this does not apply to him. The first time he used a center stroke, he might have some deficiencies, but the second time he used it, it became much better, the third time he used it, it was close to perfection.
And after using it again, he became proficient in its use and could easily use it without showing any flaws. The same is true for other strokes and ink techniques.
In other words, Su Jing looked like he was painting everything in disorder at first glance, but his various techniques were rapidly becoming proficient at an extremely terrifying rate, and he was using all kinds of difficult techniques with ease.
“Oh my God, am I seeing things? Ink splash, he learned ink splash technique in three or two times?”
“The various difficult techniques that we couldn’t learn for a long time, he learned them in three or two tries.”
“My God, look at the half of the mountain he just drew, is he really a beginner in Chinese painting?”
“It couldn’t be that he is already a master of Chinese Painting and is deliberately pretending to be a pig to eat a tiger here, right?”
Many people here felt that Su Jing was not a beginner, but a master of Chinese painting who had studied for a long time and was deliberately pretending to learn it step by step, otherwise, it would be impossible for a beginner to learn Chinese Painting so fast. And if he really is a beginner then he simply has a Monstrous Talent.
Cheng Shiyao and Zhu Yan were surprised to see it, while Huang Jinghong frowned slightly. Su Jing was excellent in other aspects, so it was nothing more. But he thought that he had the advantage at least in traditional Chinese painting, but now his confidence was greatly shattered.
No matter whether Su Jing has incredible learning ability, or if he is an early master of Traditional Chinese painting, the result is that Su Jing’s traditional Chinese painting level will surpass him every minute.
However, although Cheng Guyi is shocked, he believes that Su Jing is indeed a beginner. Every stroke and every half drawing he did was to verify the questions he had just asked himself.
It seemed like a bunch of paintings that were clustered together, but actually, he did not waste any ink and brush strokes. Cheng Guyi was excited. He knew he had met a genius, a super-genius, a truly exceptional talent.
Actually, 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 is a master of calligraphy. Although calligraphy cannot be confused with Traditional Chinese painting, both of them have something in common in using brush and ink.
A calligraphy master will find it more natural to use ink and brush than ordinary people;
Secondly, his memory and thinking ability are far beyond ordinary people, he can remember every detail of every technique clearly, he will not hesitate when writing or painting, and he can clearly think about all aspects of Chinese Painting at once.
He is obviously a novice, but at the same time, he feels just like a veteran. If he wants to paint something using a particular technique then he would be able to do it without any difficulty and it will not take him more than half a minute to do it.
Thirdly, his physical fitness is much better than ordinary people’s. He has a clear eye, a steady hand, and a calm mind.
These kinds of abilities allow him to control his strokes freely. In addition, Su Jing is also a Spirit Reader Master. He can construct a picture virtually through spiritual force, which can make every stroke and every painting more refined.
The combination of all of the above points allows Su Jing to learn in a way that is beyond the reach of ordinary people. He is not only a genius in painting but also a genius in almost every profession.
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