The mountains are stacked on top of each other, and the water color of the smoke is collected in the stone.

I don't know if it is a match made in heaven, or the love of taking refuge in the landscape, in the elegant stone of the Tingjiang River, the stone surface presents a halo of ink, this kind of scientific name is "irregular branch radial siliceous sedimentary hornstone" Tingjiang ink stone, the ghost makes the gods like a god to fit the artistic aesthetics and spiritual realm pursued by the Chinese literati ink painting, miraculously imprinted the ethereal charm of the ink painting on the warm and moist stone surface.

Tingjiang ink stone with its ink five colors, ethereal charm of pen and ink taste, by Hakka stone friends took the lead in recognition and competition to buy the collection.

She was re-endowed with profound cultural connotation and calligraphy and painting taste, like Limbo's Luoshen, gently unveiling the mystery of her thousand-year-old heritage.

The ink stone of the Tingjiang River originates from the east of Gutian Dayuan Village at the foot of Meihua Mountain, and enters the front of Liancheng Temple through the west mountain.

Go down through Lufang, Shuibei to Pingtou Village, and then through Xinquan Guanzhuang Village to Xinquan and Pengkou Creek to merge into the Liannan River, and then go down more than 20 kilometers out of Jitou into the Jiuxian River (the main tributary of the Tingjiang River).

The two estuaries of Yunu Village, Shanghangcheng District, flow into the Tingjiang River, so the upstream is in Liancheng, the middle and lower reaches are in Shanghang (the ink stone of the Tingjiang River is mostly produced in this section of the river), and the ink stone surface produced in Liancheng is mostly between 20 and 40 cm in length and width, which is suitable for the placement of the hall and the layout of the exhibition, and the hall is "for appreciation".

Shanghang production, the stone is delicate, the stone shape is full, it belongs to the case of several stones, the length and width of the stone surface are mostly between 15-25 cm, and it can be played in the hand and appreciated by the case.

The water flush is between the pottery surface and the porcelain surface, and the dense and dense "black and white veins" are blended with yin and yang, just like the inspiration and wonderful ideas left on the Xuan paper.

This section is dedicated to the characteristics of the Jiulongbi in the Tingjiang River section, of course, Mr. Chen called it the Tingjiang ink stone.

There is a problem here, the main question in the book is the pattern stone, and the modeling stone is basically not mentioned, Kowloon himself has picked up the modeling stone like a wooden fish.

It's just that the pattern stone is the majority, which Kowloon does not deny.

Interesting in the heart of the text

Since the Tang Dynasty, literati painting has appeared with plain ink as the skeleton, stained and blurred ink, supplemented by ethereal blank space, the picture is used to convey the meaning of the situation, and the "Southern School painting style" has a far-reaching influence on later generations.

Wang Wei began to use shades, and used poems into paintings, and there were poems in the paintings; Scholars practiced between black and white with Confucian standards, and inscribed poems on the painting to leave poems on Su Shi who began in the Northern Song Dynasty, and the ink bamboo of Wentong and the characters of Dongpo became famous in the literary world;

In the Yuan Dynasty, the "Jian'an style bones" with black and white as the yin and yang aesthetics were highlighted, Zheng Sixiao painted Mo Lan Shucai, and the simple leaves did not paint the soil to express the thoughts of not forgetting the homeland.

Li Song's "Merchant Picture" in the Southern Song Dynasty uses ink lines to reflect the worldly and innocent life taste:

A group of jubilant youths, old men, women and children rushed to the mountains to the peddlers, the goods niche on the shoulders of the peddlers were full of toys, and from time to time they shouted at the children who were dragging their mothers with the drums in their hands, showing the simplicity and innocence of civilian life.

The ethereal illusion of five colors between the scorched ink and the water constructs the poetic heart, literary heart, scholarly heart and childlike innocence of literati ink painting.

With its rich content themes, it shows the humanistic stories and life interests of different historical periods, and conveys the feelings of the world in the stone.

Black and white into a painting

The natural Tingjiang ink stone and ink painting are similar to the beauty of the painting, leaving us with a natural interpretation of the ethereal rhyme of ink painting; At the same time, it also paves a natural shortcut for the creation and development of ink painting, and the spiritual gas of Tingjiang ink stone is present in its ink rhyme: there are two major characteristics of blank space and smudging.

Blank space refers to the place where there is no ink on the ink painting, leaving an ethereal reverie for the vision.

Ink painting pays attention to the law of balance between opposites and unity, and uses the expression technique of virtual lining reality, and the blank space is a stroke of genius in this expression technique, which carries the spiritual vacuum of the contrast between the delicate and sensitive inner world of the literati and reality.

It is also the simple theory of relativity in the creation of ink painting, looking back at the inside in the change of virtual and real, calmly and calmly.

The rhyme of the water halo on the stone surface of the Tingjiang ink naturally coincides with the subtle beauty and artistic conception of the ink painting.

This ethereal and ever-changing charm is like a flower in the fog in the visual impact, and it is like a flower;

Looking at the moon in the water, if it is about to leave.

The artistic conception is strong, ethereal and eternal, the stone surface is supplemented by the enamel halo of "black veins", magical as ink dyeing, and a single black scattering into colorful ink: blue, indigo, blue, black, ink, to achieve the rendering of the image of the picture, the effect of virtual and real light and shade.

The edge is wrapped in goose yellow water flowing paint and clever color, the ink of the view is blue, the layers are clear, and the three-dimensional perspective is strong, which shortens the time and space distance between the picture and the allusions, and makes the dusty allusions live again.

The two basic elements of "halo" and "drip" of ink block construct the freehand taste of "similar and unlike" ink painting between smudging and blanking, these points, lines, blocks and surfaces presented by these "black veins and white veins" are what we usually call smudging and blanking, and its yin and yang changes interpret the ink with the brush, rubbing, dotting, dyeing, and the thick, light, dry and wet ink with the ink; The "Qi Yun Wen Xin" hidden in the black and white yin and yang changes has been passed down from generation to generation by our Chinese with the national temperament of "Wen Qi" and "Morale".

The "black veined dreadlocks" and "white veined dreadlocks" on the Tingjiang ink stone surface present two styles of black and white pictures of "black on white background" and "white on black background".

The "white image on a black background" in Tingjiang ink stone is black against white, highlighting the thickness and depth of the space: it is an ink flower formed by splashing ink in the real sense; It is a free and independent world in the ink group; It is the amplification and promotion of the flying white pen and ink; It is the "concave and convex flowers" and "drips" left blank after the ink is smudged.

It resembles the ancient seals, densely interspersed with interspersed white cloth, and also has the characteristics of brush and ink rhyme, reconstructing the image of "resemblance and dissimilarity" in the black and white illusion, and naturally becoming a painting; It is the "Wenxin Carving Dragon" built in the splashing ink group; It regards the swaying of ink as the construction of brushwork, which is the natural existence of a pen in ink.

"White on Black" is nature's entry and exit from Zen in ink freehand techniques; It is a reverse thinking in the creation of ink painting: the blank space of ink painting is transformed into an ethereal image, which opens up the blind spot created by time and space in ink painting;

The concept that smudging and blank space can be converted into images can be transformed into each other, which opens up a new way for us to create a rhyme and leave a natural basis.