Shi Zhenquan, the word wild wind, learned painting with his uncle since he was a child. He graduated from the Art Department of Shanxi University in 1983. He studied under Mr. Bai Xueshi, Zhu Yan and Shi Tingbao. In 2004, he studied in the advanced research class of the China Artists Association, and later studied with Professor Baiyunxiang of the Academy of Fine Arts of Hebei Normal University. His works have participated in dozens of exhibitions at home and abroad, and won many gold and silver awards. Many of his works have been published in newspapers and periodicals, and he has visited Singapore, Malaysia, Thailand and other countries, and his works have been collected by leaders of many countries. He is currently the director of the Chinese Painters Association, the director of the Chinese Art Painting Exchange and Creation Center, the vice president of the Beijing Oriental Hanfeng Painting and Calligraphy Institute, and the vice president of the Hebei Modern Art Research Association.
Mr. Shi Zhenquan's painting, unlike most painters, he does not need to use a number of brushes of different sizes to exchange paintings, basically relying on "one pen to fight the world", ink sketches with pig bristle strokes that are rarely used by ordinary people, never make drafts, draw with a pen; It is only when you need to draw trees, buildings, vehicles, ships, bridges, and people that you need to use a smaller brush to complete it; When the ink is finished, lightly color it with a board brush.
Before putting down the pen, dip the pen with water to squeeze out the excess water, and then dip it in ink to keep the root part of the pen always water. The amount of ink dipped depends on the situation, so that the nib, the belly of the pen, and the root of the pen form a gradient change of burnt, thick, heavy, light, and clear, which is his basic method of using the pen.
Draw with heavy ink firstClose-up. The close-up area should not be too large, but this is the heaviest part of the painting. According to the structure of the mountain stone in the "abdominal manuscript", the pen should have heavy and light, disease and Xu, mention and press, wide and narrow, horizontal and vertical changes, in order to express the texture changes of the mountain stone, it is necessary to rub horizontally, vertically, obliquely and so on. This is the basic skill of painting mountain stones. After the first stroke is "rubbed", a "surface" of the mountain stone can be formed, and the "outline line" of the stone can be formed with a gentle sweep of the side tip of the pen, that is, the structural line, and there is no need to deliberately outline it with the center. It will seem very real and unpretentious.
When drawing another "face", you should consider changing the direction of "erasing" so that the direction of the two strokes forms a suitable angle: the first stroke is vertically erased, and this one is erased horizontally as needed. If you rub it diagonally above, you will form three sides of the stone. Stacked again and again, a mountain is formed.
Of course, we must pay attention to the structure of the mountain stone, every stroke, each piece must not be the same, the size, the direction of the staggered, the ink color will be opened, it will form a patchwork, beautiful structure of the mountain stone.
The middle ground is the focus of the whole painting. The ink is slightly lighter than in the close-up. The picture below is that after the flat "rubbing" out of the stroke, the structural line is being "swept" with the side tip. Because it is not outlined with a center, the structural line formed is particularly subtle and realistic, and will form an unexpected special effect. 
After drawing a "face" of the mountain rock, and then drawing adjacent "faces", the first thing to think about is that the two "faces" must be different, and they must not be the same, one face!
When the ink in the pen is basically dry, the tip of the pen is flattened, and the vegetation is "pointed" out of the blank space at the top of the reserved mountain stone with scattered fronts. 
When drawing another adjacent rock, you need to change your technique and leave a location for the waterfall. The water flow of the waterfall should be wide and narrow, high and low, forming a trend of water turning around the stone, thousands of turns, and the force ring to form a "comb" effect.
In order to paint the two rocks with their own characteristics and avoid similarities, it is necessary to compare while drawing, and carefully clean up when necessary, so that the mountains and rocks drawn will not be the same.
Draw low rocks, interspersed with some vegetation, and lay the groundwork for painting the "water mouth" and flowing water under the waterfall.
When drawing the mountain on the left, pay attention to the lighter ink color, which is equivalent to opening up the distance from the mountain drawn first, and leaving a place for the clouds in the lower part.
Drawing the distant mountains in the spatial position of the two mountains with lighter ink, and rendering with very light ink when the distant mountains are slightly dry, will make the mountains in front more prominent, and the mountains in the back will be "pushed" farther, enhancing the three-dimensional sense and layering of the picture.
The clouds in the lower part of the mountain are rubbed out with extremely dry light ink, which is basically wiped out with the moisture of the pen belly and the root of the pen, and the white space should pay attention to the shape of the clouds, which is close to nature.
Draw a low rock in heavy ink a little above the lower left corner, as part of the close-up, echoing the rock on the right. Remember that the lower part of the paper must be left blank, and should not be drawn to the bottom line of the lower left corner, so as to avoid being similar to the lower right corner. Then carefully draw the layered "water mouths" and streams. The direction of the water outlet should be "varied" and the direction should be changeable.
Remember to draw the stream at the mouth of the water with light ink, carefully outlining the water lines, and drawing the direction of the water.
"Water" is an important part of landscape painting, and we strive to handle it carefully and carefully on the basis of a large number of observations and sketches.
When painting the scenery of the trees, pay attention to the shape of the trees to have their own posture, not only the pursuit of vigorous and clumsy, but also without losing the agility and grace, not the same, to draw the finishing touch.
Finally, look at the big picture,Tidy up carefully, do some tinkering, and the ink manuscript will be completedFinish. At this time, it can be inscribed, sealed, or all can be completed.
Start coloring when the ink is almost dry. The coloring should be simple, not too bright and too mixed, two or three colors are enough. It is required to be thin, transparent and bright, and it is completed at one time, so that the color is not pressed, and it cannot be rendered repeatedly and superimposed layer by layer, so as not to become chaotic and dirty!
The painting expresses warm tones in the hilltop part, with a touch of vermilion and a little ink (no ochre, which is opaque); The lower part of the mountain expresses a cool color, and it is made into blue ink with a little ink and dyed with a large board brush. Dye the top of the mountain first, and then dye the middle and lower parts.
Pay attention to rendering while wet, and immediately dye the middle and lower parts of the mountain after dyeing, so that the cold and warm colors of the connecting part are completely integrated, leaving no traces.
Note that when shading, be sure to leave water and clouds blank, and then carefully render them separately. If you dye the waterfall, the lower part can be gently swept with a faint blue ink, and the upper part is all left blank, remember not to use white color to dye the water; When dyeing clouds, only the part of the light ink is dyed, and the clouds are left blank, pay attention to the gradation and depth of the hue, and try to be as close to nature as possible. Finally, the distant mountains are dyed with a touch of cyan ink at one time. When it is first dyed, because the moisture is too large, the distant mountains will appear slightly heavier, and as the moisture gradually evaporates, the color will become lighter and lighter. Sometimes the color of the distant mountains is so light that it is barely visible, but after framing, the color will deepen a little and re-emerge. Here you need to accumulate experience and master a suitable depth, rather shallow than too deep.
The coloring of Chinese landscape painting is divided into color ink landscape and light silk landscape. Mr. Shi Zhenquan's landscape paintings belong to the shallow Jiang landscape. After the ink is finished, it has been basically finalized, even if it is not colored, or applied with light ink, it is enough to call it a complete ink landscape. The coloring is to make the picture closer to the reality, better show the decent effect of the mountain, enhance the three-dimensional sense of the mountain stone, and the sense of hierarchy and depth of the picture.
But coloring is secondary after all, and you must not dominate the crowd, and use color to press the ink and cover the ink. This is completely in line with the basic essence of freehand painting, it is written "meaning", and the meaning is just right. Over-rendering can backfire.
Landscape painting