具体描述
本书介绍了伊藤昌、大月红石、冈村南红、盐泽玉圣、根岸嘉一郎、白浪、藤崎千云、藤原六间堂、松井阳水九位画家各自调墨和运笔的独家技法，对水墨画学习者提供了非常实用的绘画实践指导。
对于学习水墨画的人来说，本书是一本讲解细致、干货满满的优秀教材。本书介绍了每位画家的用具配置、墨的研磨方法，以及所使用的画笔类型，介绍了各自创作中的调墨重点和运笔秘诀，并结合若干案例的画法讲解，来讲述破墨技法、叶子的画法、花瓣的画法、三墨法、水分的去除方法、墨的取法、水的取法等各位画家独特的绘画技法。案例题材丰富，有玫瑰、溪谷、雪景、山脉、牡丹、葡萄等，分步骤绘制并一一讲解，每一步均结合图片，直观易懂，让学习者便于掌握和运用这些技法。
作者简介
株式会社日贸出版社，1966年成立。前身是日本出版贸易株式会社出版部。主要从事书籍、杂志、音乐影像制品的引进和输出，以及批发零售业务。其他业务还有，西文图书、影像制品的引进；向在国外居住的日本人提供日本国内最新的书籍和杂志；与国外的书店、图书馆、研究机构合作书籍、杂志、日文教材；向国外输出日本国内的音像影像制品等。
目录信息
笔墨鲜明的表现手法
伊藤昌 -------------------------------------------------------6
用具配置／墨的研磨方法／笔 ···························· 6
调墨重点 ················································· 6
运笔秘诀 ················································· 7
紫藤画法 用逆锋表现出藤蔓的强韧
樱花画法 破墨效果
画法讲解１ 画玫瑰 ········································ 8
破墨技法 ··············································· 8
画法讲解２ 画溪谷 ········································ 9
【作品举例】 T 字路／姫路城 ·······························10
中尊寺金色堂／月光 ··························11
宫岛严岛神社／屋久岛 ························12
薄暮／朝渔 ····································13
伊藤昌简历／个人技法要点······························13
用淡墨描绘娇艳的花朵
大月红石 ---------------------------------------------- 14
用具配置／墨的研磨方法／笔 ···························14
调墨重点 ················································14
运笔秘诀 叶子的画法 ··································15
绣球花的叶子／大吴风草的叶子
画法讲解１ 画绣球花 ···································16
画法讲解２ 画花束 ·······································18
【作品举例】 开始即结束， 结束即开始 ····················19
百合水仙 ······································20
银莲花 ········································21
人偶／花茎甘蓝 ·······························22
车百合 ········································23
大月红石简历／个人技法要点 ···························23
用精妙的笔法再现四季更替的自然之景
冈村南红 ---------------------------------------------- 24
用具配置／墨的研磨方法／笔 ···························24
调墨重点 ················································24
调墨的变化 ··············································25
花瓣的画法／小树枝的画法／树干的画法
画法讲解１ 画山茶花 ···································26
画法讲解２ 画雪景 ·······································27
画法讲解３ 画绣球花 ···································28
【作品举例】 染井吉野樱花 ·································30
玫瑰／池畔 ····································31
牵牛花 ········································32
牡丹 ···········································33
冈村南红简历／个人技法要点 ···························33
追寻墨色之美的源泉
盐泽玉圣 ---------------------------------------------- 34
用具配置／墨的研磨方法／笔 ···························34
调墨重点 ················································34
调墨的变化 ··············································35
从笔的一侧看形成的浓、中、淡三墨状态
从笔的一侧看形成的斜向的浓、中、淡三墨状态
画法讲解１ 画小麦 ·······································36
画法讲解２ 画富士山 ···································37
【作品举例】 风竹 ··········································39
灵峰 ···········································40
白映 ···········································41
盐泽玉圣简历／个人技法要点 ···························41
墨色之上，寄托时代精神
根岸嘉一郎 --------------------------------------- 42
用具配置／墨的研磨方法／笔 ···························42
调墨重点 ················································42
单侧三墨法 ··············································43
板刷的调墨 ··············································44
画法讲解１ 画雪林 ·······································45
画法讲解２ 画山脉 ·······································46
【作品举例】 神桥／寂 ······································48
断崖奇景（北山崎）／岬角 ···················49
上高地／春天的渔村 ··························50
玫瑰仿制品 ····································51
根岸嘉一郎简历／个人技法要点 ·························51
多样的创作方法
白浪 ------------------------------------------------------------ 52
用具配置／墨的研磨方法／笔 ···························52
调墨重点 浓淡要分别来画······························52
运笔秘诀 画古树 ·······································54
画法讲解 画牡丹 ·······································55
【作品举例】 古松 ··········································57
紫藤 ···········································58
石榴 ···········································59
白浪简历／个人技法要点 ································59
探究笔墨的可能性
藤崎千云 ---------------------------------------------- 60
用具配置／墨的研磨方法／笔 ···························60
调墨重点 ················································60
运笔秘诀１ 藏锋和露锋 ································61
运笔秘诀２ 点点 ·······································62
画法讲解１ 画山茶花 ···································63
画法讲解２ 画石山 ·······································65
【作品举例】 寒牡丹／秋实 ·································66
彩瞬 ···········································67
云山 ···········································68
溪声 ···········································69
藤崎千云简历／个人技法要点 ···························69
用传统技法表现新主题
藤原六间堂 --------------------------------------- 70
用具配置／墨的研磨方法／笔 ···························70
调墨重点 ················································70
调墨的变化 ··············································71
水分的去除方法／墨的取法①
墨的取法②／水的取法
画法讲解１ 画鸡 ··········································72
画法讲解２ 画葡萄 ·······································73
【作品举例】白雪皑皑／威尼斯清晨 ·······················75
云和月的对话／白桦林 ························76
无言 ···········································77
藤原六间堂简历／个人技法要点 ·························77
用澄净墨色描绘诗情画意
松井阳水 ---------------------------------------------- 78
用具配置／墨的研磨方法／笔 ···························78
调墨重点 ················································78
画法讲解１ 画黄昏的威尼斯 ·························79
画法讲解２ 画圣诞玫瑰 ································81
【作品举例】 玫瑰 ··········································83
山茶花／猫头鹰 ·······························84
阵雨 ···········································85
松井阳水简历／个人技法要点 ···························85
水墨画的主要技法 ·······································86
各位画家平时使用的用具和材料 ·························87
· · · · · · (收起)
读后感
用户评价
我特别喜欢这本书的结构编排，它循序渐进，层层递进，完全没有给我一种不知所措的感觉。从最基础的“认识工具”，到“调墨运笔”，再到后期的“画面构图”和“意境营造”，每一个章节都像是在为我打好坚实的基础。 尤其是最后的几章，关于如何将学到的技法融入到具体的创作中，作者提供了一些非常实用的建议。比如，他会引导你去观察生活中的自然景物，然后思考如何用手中的毛笔和墨色去表现它们的形态和神韵。他还给出了一些创作的小练习，让我能够将理论知识运用到实践中，并且在这个过程中逐渐找到自己的风格。这本书真的让我觉得，水墨画并非遥不可及，只要有心，人人都可以踏上这条美妙的艺术之路。
刚拿到这本《从零开始学水墨画：水墨画家的调墨、运笔秘诀》，说实话，一开始我对“从零开始”这个说法有点保留。我一直觉得水墨画是那种需要长期浸润、天赋异禀才能掌握的艺术，总觉得它高高在上，可望而不可即。然而，当我翻开这本书，就被它那种平易近人的态度所吸引。序言里作者提到，他也是从一个完全不懂水墨的新手一路摸索过来的，这让我瞬间感到亲切。 这本书没有一开始就抛出各种复杂的技法和理论，而是从最基础的“准备工作”讲起。比如，它详细地介绍了各种毛笔的特性，告诉我羊毫、狼毫、兼毫各自适合表现什么样的墨色和线条，还教我如何判断毛笔的好坏，买到真正适合自己的工具。这对我这种连毛笔都分不清的人来说，简直是雪中送炭。而且，它还花了很大的篇幅讲解宣纸的选择和处理，比如生宣、熟宣的区别，以及如何在不同的纸上运用不同的墨法，这些细节的讲解，让我觉得作者真的站在初学者的角度去思考的，非常贴心。
读完这本书，我脑子里关于“调墨”这个概念，简直是发生了翻天覆地的变化。我以前总觉得调墨就是把墨汁和水搅在一起，然后随便用，没想到这里面学问这么大！作者用图文并茂的方式，一点一点地揭示了“浓、淡、干、湿”这四种基本墨色的奥秘，并且教会我如何通过调整墨与水的比例，以及利用笔尖的墨量来营造出丰富的层次感。 最让我惊喜的是，书中对于“焦墨”、“浓墨”、“淡墨”的讲解，简直是把水墨画的灵魂都讲出来了。它不光告诉你怎么调出这些墨色，更重要的是告诉你，这些墨色分别适合表现什么样的物象和意境。比如，焦墨的苍劲，浓墨的厚重，淡墨的空灵，这些都通过具体的示范图例，让我一目了然。而且，作者还分享了一些“小窍门”，比如如何利用毛笔的干湿变化来表现物体表面的质感，如何在落笔前就预判出墨色的效果，这些实操性的技巧，对于我这样完全没有经验的人来说，真是太宝贵了。
“运笔”这个词，听起来就带有一种飘逸和灵动的感觉，我一直以为这是要靠天赋和多年的磨练才能达到的境界。但这本书却把“运笔”这个抽象的概念，分解成了非常具体、可操作的步骤。作者从握笔的姿势开始，就进行了细致的讲解，告诉你不同的握笔方式会对笔触产生什么样的影响。 然后，就是关于“用笔”的各种技法，比如“中锋”、“侧锋”、“逆锋”，作者都用清晰的图示和文字说明，展示了它们各自的特点和在画面中的应用。我之前总是分不清这些笔法，看了书之后，才明白原来笔锋的走向、提按的力度，以及笔尖的接触方式，都会直接影响到线条的粗细、顿挫和韵味。书里还举了很多例子，比如用侧锋画出的树叶，用逆锋勾勒的山石，都显得非常有力量和生命力，让我觉得我似乎也能通过练习，掌握这些“秘诀”了。
这本书最让我觉得与众不同的一点，是它不仅仅是教你“怎么画”，更重要的是它在引导你去“感受”水墨。作者在讲解技法的同时，总是会穿插一些关于水墨画的哲学思考和美学理念，让我觉得我不是在学习一种绘画技巧，而是在体悟一种东方特有的艺术精神。 比如，在谈论“留白”的时候，作者并不是简单地告诉你哪里要留白，而是深入地阐释了留白的艺术价值，它如何能够创造意境，如何能够引发观者的联想。这种讲解让我对水墨画有了更深层次的理解，不再仅仅停留在形似，而是开始去追求神似。而且，书里还穿插了一些古代水墨大师的作品赏析，通过对大师作品的解读，让我看到了水墨画的无限可能性，也激发了我深入学习的动力。
