The outstanding painters in ancient China were all able to experience nature deeply. If you just copy and draw, you will not get the essentials and secrets of nature, which will limit your creativity. If you marry according to others, you will not have your own opinions. ——See Zhu Jinlou's "Master of Modern Landscape Painting—Mr. Huang Binhong (Part 1)" (published in the February issue of "Art Research" in 1957)

The essentials and secrets of painting landscapes to deserve the mountains and rivers, just copying , then you will be able to marry according to others, and you will be the last learner of a painter. ——Speech from 1948. See "Huang Binhong's Painting Quotes" compiled by Wang Bomin

The law comes from principles, and principles come from changes in nature. The method is prepared with the Qi, and when the Qi arrives, good fortune will enter the painting, and it will naturally appear in the pen and ink and appear on the paper. ——1953 speech. See "Huang Binhong's Painting Quotations" edited by Wang Bomin

I want to travel all over the country, on the one hand, I can see all the twists and turns of various landscapes; on the other hand, when I get to a certain place, I find the basis of a certain landscape painting in a certain era, which makes me very happy. I pay attention to the actual objects to study that method, and at the same time draw sketches, and with the infinite richness of nature, I also explore various expression methods in the actual objects. ——See Zhu Jinlou's "Masters of Modern Landscape Painting—Mr. Huang Binhong (Part 1)"

Learning that method can certainly give us a lot of inspiration; but that method has actual natural results. according to. Ancient painters often sketched the landscapes of his hometown, thus forming his own unique style and techniques. ——See Zhu Jinlou's "Master of Modern Landscape Painting - Mr. Huang Binhong (Part 1)"

When ancient people discussed painting, they often said that "there is a method in the lawless", "there is no chaos in the chaos", and "the unevenness is not uniform" ”, “similarity that is not similar”, “must be within the rules, but also beyond the rules”. These are the fundamental principles of painting, and scholars must understand them deeply. ——March 1955, sick Chinese language. See "Huang Binhong's Painting Quotations" compiled by Wang Bomin

To paint a scene, you must understand the word "give up"; to trace the shape of objects, you must understand the word "take". "Giving up" and "taking" can be left to people. Only if you understand this principle can you use Ranhan to do your best. ——March 1955, sick Chinese language. See "Huang Binhong's Painting Quotes" compiled by Wang Bomin

Painting landscapes must have charm, painting flowers and birds must be interesting, and painting characters must be emotional and spirited. The materials of the pictures are nothing more than heaven, earth and people. The sky refers to mountains and rivers; the earth refers to flowers, grass, insects, fish, and feathers. Painting flowers and plants only has similar shapes but no interest, which is just paper flowers; painting people is the most complicated, as it must distinguish between male, female, old, and young. There must also be differences in personality, and even more differences in good, evil, joy, and anger.

Landscape painters must have their own process for creating landscapes. There are four processes in this process: one is "climbing mountains and facing water", the other is "sitting and looking at the pain is not enough", the third is "landscapes are mine", The fourth is to "think twice before acting." These four are indispensable.

When you write, you should never go back, never dangle or shrink. Go back and forth, use the pen calmly and not floaty.

There are two ways to use the center in painting: one is the sword spine method, leaving a white mark in the middle of the line, with light on both sides. It is suitable to paint autumn trees and dead wood. It does not require hard work and is not easy to obtain. The first is the cylinder method. There is a black mark in the middle of the line, with light on both sides. It is commonly used to draw boulders, but it can also be used to draw trees.

The characteristic of using side blades is that one side is bright and the other side is zigzag-shaped. I mostly use this pen when writing about the scenery of Yandang and Wuyi.

There must be twists and turns when using a pen to outline. Waves are undulating shapes, and folds are changes in the direction of the pen. The drawing can change with the ups and downs of the object. Wang Meng was good at solving the problem of suo and got the Dharma in this way.

There are many variations in the method of chaffing, and dotting can also be used for chaffing. The ancients did not say this, but I realized it while sketching.

Accumulating points can form a line, but points are not lines. The points can be ever-changing, just like sowing seeds, which will fall to the ground and grow into fruit. The same is true for painting, so the points should be chosen carefully. The discussion of painting points in "Mustard Seed Garden" seems to be too rigid. The method should be lively rather than rigid. Scholars should understand this deeply.

The two lines in the painting are connected, which is different from the joining of wood in carpentry. The meaning of carpentry is to be firm, while the painter’s intention is to have continuous breath.

When painting and decorating, you should use the virtual method of reality to show the spirit and not rigidity.

The dots are dyed, and the ink should be clearly defined when using the pen, but not too distinct. It should be both clear and not clear. When painting a bright spring scene, the dots and dyes do not need to be too distinct. It is better to make the whole body smooth and clean. This is to seek clarity instead of being distinct. When painting lakes and mountains with mist and rain, the dots and dyes should be clear. The meaning of rain should be felt in the handwriting, and the smoke should appear in the rhyme of the ink. This is to make it clear and not clear. Painting techniques are fickle, and scholars can give it a try.

The inks used include: thick ink method, broken ink method, accumulated ink method, light ink method, splash ink method, burnt ink method, and accumulated ink method. It can be used skillfully in any painting. If it can be extremely natural, the secret of superiority can be obtained, which can be said to be a method of preparation.

"Mountaining mountains and facing water" is the first step for a painter to get in touch with nature and have a comprehensive observation experience. "Sitting and looking at the suffering is not enough" means looking deeply and carefully, making friends with the mountains and rivers, and worshiping the mountains and rivers as teachers. You should be natural in your heart and have a feeling that you cannot bear to be separated from the mountains and rivers. "Landscapes are mine", this means not only worshiping heaven and earth as teachers, but also the painter's heart should occupy heaven and earth, be surrounded by them, and be able to express the subtleties of mountains and rivers.

"Think three times before you act." First, think before painting, which is the idea; second, think about each stroke, which means there is no rash action; third, think while painting. This third thought also contains the meaning of "getting the source of the heart". ——1948 speech. See "Huang Binhong's Painting Quotations" compiled by Wang Bomin

The natural mountains of Sanling are always black and white. A completely white mountain is actually a mountain on paper, but it is not like this in nature. The mountains of the Four Kings in the Qing Dynasty were all white because they were all imitators and did not look at or study real mountains. ——See Zhu Jinlou's "Master of Modern Landscape Painting—Mr. Huang Binhong (Part 1)"

When you use a pen to draw pictures, it affects the overall situation, so you should not be careless. The brush is the general hub of the outline and outline, which is spread throughout the painting to facilitate breathing, just like the blood flowing through the whole body. The intention is stored in the pen first, the intention is outside the pen, the intention is in the painting, and the image is complete. This is not the only way to see life when the pen is in use. When there is no pen, there must also be the inner meaning of the spirit, and the rest of the meaning is endless. It is crucial to express the infinite with the finite. ——See Zhang Zhenwei's "Essential and Vigorous, Vigorous and Graceful"

The second best thing about using a pen is that the power of the pen penetrates into the back of the paper. The first best thing is that the pen can hold the paper when it touches the paper. . Painting mountains can make them heavy, painting water can make them light, and painting people can make them live, just by holding the paper. ——1948 speech. See "Huang Binhong's Painting Quotations" compiled by Wang Bomin.

The most taboo in painting is tracing, painting and wiping. To draw, the pen has no ups and downs and ends, and there are no twists and turns; to apply, only the ink is visible, but not the pen, that is, there is no pen in the ink; to wipe, to drag horizontally and straight, it is not a person using a pen, but a person being used by the pen. ——1948 speech. See "Huang Binhong's Painting Quotes" compiled by Wang Bomin

When using a brush, the power of the wrist should be hidden in the brush and must not be exposed outside the brush. The edge must be hidden, not exposed, let alone show strength in the painting. ——1948 speech. See "Quotations from Huang Binhong's Paintings" compiled by Wang Bomin.

Zhao Mengfu said that "stones are like flying white trees and white trees are like trees", which is quite reasonable. Those who are proficient in calligraphy often use calligraphy for painting. Mr. Changshuo understands this principle deeply. When I draw branches, I often use the small seal script method. ——1948 speech. See "Huang Binhong's Painting Quotations" compiled by Wang Bomin.

I try to use landscapes to make calligraphy, but I use calligraphy to paint. Every mountain has its power to press down, and its energy to spread upwards. Therefore, "Shuowen" says: "Mountains are meant to spread." I use this as my effort in writing; when the pen is about to go down, the breath turns upward, so it can be done without drooping or shrinking. All water, although the Yellow River flows down from the sky, flows in hundreds of twists and turns, and its momentum is always flat. Therefore, "Shuowen" says: "Water, accurate", I use this as the outline of the word; I want to write roundly, and The pen wants to be flat when it comes out, so it can go in reverse and come out flat. In any mountain with three or five peaks in a row, the energy of the left and right sides are all in harmony with each other, and the male and female are in harmony with each other; the rocks on the mountain are all left, and all right are right. In all water, the waves rise and fall uniformly, but the waves stirred by the wind may vary from time to time. This is how I know that when writing a word, there should be expectations, there should be a tendency, there should be harmony in the unevenness, and there should be harmony in the disparity.

Whenever I draw a mountain, I want it to be round and thick at the turning point, so I use the cursive calligraphy method of Huai Su to do it.

Whenever I paint a mountain, I want its yin and yang to be bright, so I use Cai Zhonglang's eight-point flying white method to do it.

Whenever I paint mountains, there are houses and bridges, and I want the body to be upright and the intention to be pure, so I use Yan Lugong's calligraphy as a cone to draw sand.

Whenever I paint a mountain, I want it to be muddy and heavy with trees and moss in the distance, so I use the method of Lu Zhengzheng's calligraphy like sealing clay.

Whenever I paint a mountain, there must be clouds on the mountain. I want them to flow freely without any stagnation, so I use the method of bells, tripods and big seal scripts to do it.

Whenever I draw a mountain, there must be water at the foot of the mountain. I want its waves to be straightened out, so I use (Li) Siweng's small seal script method to do it.

Whenever you paint a mountain, there must be a hidden person in the mountain, either talking to each other or alone. I want its voice to be audible but not inaudible, so I use the method of understanding the meaning of the six books to do it.

Whenever you draw a mountain, there must be a house in the mountain, and there must be people in the house. The people in the house want to be invisible but visible, so I use the six-book pictographic method to do it.

Whenever you paint a mountain, it rarely really resembles a mountain; when you paint water, it doesn’t necessarily have to really resemble water; you want it to be discernible by observation, and you can see the meaning by looking at it, so I do it according to the method of the Six Books.

——See Chen Zhu’s "Illustrated Notes of the Travels of the Eight Gui Heroes" (published in the 11th issue of Volume 1 of "Academic World" in 1936)

There should be no going back after writing. Drooping but not shrinking. Go back and forth, use the pen calmly and not floaty. ——Speech from 1948. See "Huang Binhong's Painting Quotations" compiled by Wang Bomin.

There are two methods for using the center in painting: one is the sword spine method, leaving a white mark in the middle of the line, with light on both sides. It is suitable to paint autumn trees and dead trees without having to work hard. It’s not easy to get the Dharma. The first is the cylinder method. There is a black mark in the middle of the line, with light on both sides. It is commonly used to draw boulders, but it can also be used to draw trees. ——Speech from 1948. See "Huang Binhong's Painting Quotes" compiled by Wang Bomin

The characteristic of using side edge is that one side is light and the other side is zigzag. I mostly use this pen when writing about the scenery of Yandang and Wuyi. ——Speech from 1948. See "Huang Binhong's Painting Quotations" edited by Wang Bomin