Which sixteen schools did the ancients write about landscapes?

Tilting is a technique used to represent rocks and trees in Chinese painting. China's early landscape painting technique is to outline with lines first, and then paint. With the development of painting and the gradual improvement of techniques, there have been rubbing techniques to express the volume, quality and light and shade of rocks and trees, such as chopping with axes and rubbing with horses.

By the Qing Dynasty, the technology of rubbings became mature, and A Qing and Ji Zheng summarized it into sixteen rubbings. They are: horse, cloud head, sesame, messy, broken belt, horse tooth, axe chop, raindrop, elastic vortex, skeleton, lotus leaf, alum head, cow hair, Lysol, ghost skin and messy wood.

The appearance of freehand brushwork marks the real maturity of China's landscape painting.

The most important things in the landscape are trees and rocks. As the ancients said, mountains are the product of stones. Draw stones first, and then draw mountains. Painting stones requires understanding the method of divination. There are about 30 divination methods formed in the development of landscape painting, but 16 are commonly used in learning and creation. Horse, lotus leaf, chaos, alum head, sesame, big axe chop, small axe chop, raindrop, grimace, skeleton, cloud head, chaotic firewood, loose rope, cow hair, broken belt and horse teeth. Are two basic categories in which many condensation methods have been developed or derived. These two types of reasons are different.

Generally speaking, it is the difference between stone mountain and earth mountain. It is appropriate to cut stone mountains with an axe, and it is appropriate to cut earth mountains or soil with stones. Genre, the northern school's green is mainly axe-chopping, and the southern school's ink painting is mostly Pima. Pima Stone is derived from short-skinned horse, long-skinned horse, lotus leaf-skinned horse, Jie Suocun horse, Yun Toucun horse and Niu Maocun horse. Axe chop comes from big axe chop, small axe chop, scraping iron horse, folding leather horse, horse teeth and so on.

Due to evolution and derivation, different horse riding methods are often mixed in history, so it seems that painters in this era have their own habits, such as Dong Yuan wearing long hemp, Zhenwu wearing short hemp, and Fan Kuan using nails, raindrops, watercress and Guo Juanyun. Niu Maocun, Wang Meng, Li Tang, Ma Yuan, Xia Gui and Ni Yunlin. Of course, ancient paintings are the best, but the picture is hard to see clearly. Several clear stones and paintings are selected from the books of modern painters for reference. (Unless otherwise specified, all other drawings are final. )

The lines are complex, the angles are curved, and the strokes are light and heavy, which shows the flicker of light. Don't be stiff, don't be chaotic, rub them together to make the flesh and blood uniform, and be both rigid and flexible.

Fold the belt, use the pen side, and apply force at the turning point of the horizontal line. There is no turning point when the line turns to the front, so use dry ink to make the turning point feel like hard cutting the rock.

The axe chop, which is often used to express the magnificent mountain scenery, is rich in pen and ink and vigorous in brushwork, showing the bright and dark sides of the rock and the majestic momentum of the rock.

Mi Fei in the Song Dynasty was called Mi Fei Tuan because of its rainy scenery. The key to health lies in the blending of pen and ink, clear hierarchy and the integration of points.

When Yun Toucun sketched, he should be as round as a cloud and roll with the current like a cloud.

Lotus leaf, with the pen as the center and the dark side with clear bones, holds the mountain from top to bottom.

In Jie Suocun, lines are like untied ropes, which have the momentum of rock and roll light and dark fluctuations in the interaction of brushes.

"Hurried Firewood" is based in the Netherlands, with the center written on the front. From top to bottom, you need bold and powerful pen and ink. Although the strokes are confusing, they don't leave the background of yamagata.

The nail head is close to being cut with a small axe, which should show a dignified and solemn atmosphere. The so-called raindrops and watercress are integrated.

The edge of the cliff is composed of vertical and horizontal lines, and the majestic momentum of the cliff is expressed in dry ink. It is a technique used on silk or cooked rice paper, characterized by uniform dyeing, that is, simultaneous dyeing, between brush and brush, between thick ink and light ink, naturally connected into one. This painting is painted, like the hair of a cow, which is commonly used by Yuan.