Han Zhuo - Kansetsu

...Generally speaking, the brush, or line drawing, symbolizes objective depiction, while ink symbolizes emotional expression. The world of ink painting can be compared to an ellipse formed between these two poles of brush and ink, where various wrinkle techniques are developed. The Northern Song Dynasty artists, such as Guo Ruoxu's "Sights and Wisdom of Painting," call it loose brushwork, light and simple, and borrow the land from the ground, and collectively call it the merit of breaking ink. Guo Xi's "Linquan Gaozhi" divides the brush and ink into light and simple, wrinkle rubbing, brushing, brushing, rubbing, sweeping, and dotting, and Han Zhuo's "Complete Collection of Landscapes and Water" says that wrinkle removal is a multifaceted style, and that each point and each stroke has its own style, and gives the names of 'hima wa fu wa', 'dot wa fu wa', 'scratchy wa fu', 'scratchy wa fu', 'horizontal wa fu', and 'intertwined water wa fu'. The ink painting technique was originally used for landscape painting, but was later applied to portraiture as well, and the crease technique used to paint trees and stones came to be regarded as the same as the crease technique used to paint the folds of people's clothing.

*Some of the terminology explanations that mention "Han Zhuo" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…概していえば筆すなわち線描は客観的描写を，墨は主情的表現を象徴するもので，水墨画の世界はこの筆墨二極間に成立する楕円にも比せられ，そこに多様な皴法が展開されるのである。北宋の諸家，たとえば郭若虚の《図画（とが）見聞志》はそれを落筆，皴淡，留素借地とし，総称して破墨の功といい，郭熙の《林泉高致》は筆墨の間を斡淡，皴擦，渲，刷，捽，擢，点に分け，韓拙の《山水純全集》は皴払は多端で一点一画に諸家の体法のあることをいい，披麻皴，点錯皴，斫砕皴，横皴，連水皴という命名をあげている。　水墨の技法は元来山水画のものであったが，やがて人物画にも応用され，樹石を描く皴法と人物の衣文の皴法とは同一視された。…

※「韓拙」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報