Regular script is the most standardized, mature and stable calligraphy style in the history of calligraphy. Xingkai is a more freehand writing style of regular script. What I bring to you below is the Xingkai calligraphy font. I hope you like it. Appreciation of Xingkai calligraphy font
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Changes in the structure of regular script
Regular script is the most standardized, mature and stable calligraphy style in the history of calligraphy. It transforms the circles of seal script into straight and square folds, and uses eight basic strokes to summarize it, and requires the writer to write many Chinese characters in various styles, lively and not rigid. This is indeed not an easy task. . Therefore, writers are required to have high artistic accomplishment and high artistic skills. Apart from basic writing skills such as pointillism and penmanship, structure is important. Therefore, there have been quite a few discussions on the structure of Chinese characters before. Today I will talk about the changes in the structure of regular script in order to achieve the right path.
1. Gather momentum. Yan Zhenqing said in his "Review of the Twelve Meanings of Zhang Changshi's Brushwork": "The interest is long but the pen is short. If the long time makes the spirit more than enough, the painting will be insufficient." This means that the strokes and structure of writing should be subtle, with short strokes and long interesting strokes. If the painting is insufficient but full of spirit, the power of movement is contained in implicit strokes. There is a sense of momentum that is ready to go. Yan Zhenqing, a master of regular script in the Tang Dynasty, was the one who made the most and best use of momentum. His calligraphy works can be represented by "Big Character Magu Xian Tan Ji". The characters are written in a subtle and powerful way. This is the result of his ability to blend the structure and momentum of official script into regular script.
2. Fill in the blanks. Regular script should be written in a rich and harmonious way, without rigidity. It is necessary to make appropriate adjustments to the structure of certain Chinese characters when necessary. The "Ouyang Shugeng Thirty-six Methods" compiled by later generations said that filling the emptiness means to make it full and square. People in the Qing Dynasty said: "Fill the emptiness, fill the empty places, and make the complete parts proportionate." Complete the spiritual principles and mix them evenly. Bian Ye?. The purpose of filling in the blanks is not to fill in the blank spaces of the characters, but to dissolve the original structure of the Chinese characters and extend, migrate, supplement, and improve it in a certain blank space, so that the entire character structure has the wonderful interplay of virtuality and reality. It should be noted that you must assess the situation and be familiar with the principles of the Six Books, and do not write them randomly. Examples of characters can be found in Chu Suiliang's "Da Zi Yin Fu Jing", Sheng Yan Zhenqing's "Praise to Dongfang Shuo's Paintings", "Chao" and other characters.
3. Expansion and contraction. The following monk Zhiguo said in "Ode to Sincerity": "Hui Wa Liu Fang"? "Transformation and contraction". What he means is that in a word, similar strokes cannot be repeated and appear together, but must be left, put, and stretched. There is shrinkage. For example, the two strokes that appear again need to be contracted and stretched in order to have the beauty of change. There are also expansion and contraction changes in radicals and structural units, with the purpose of making the structure of the characters full of changing beauty. For example, there are two "Xinxin" right buttons in Liu Gongquan's "Shence Army Monument", one positive and one negative, one extended and one retracted. There are two characters "Yu" in Chu Suiliang's "Da Zi Yin Fu Jing", one is left-handed, one is extended, the other is contracted, etc.
4. Translocation. Common examples of translocations in calligraphy creations include left and right transpositions for "Jesus" and "Autumn"; the character "Goose" is written in an up-and-down structure. Some people think that the original characters are difficult to form. In fact, the purpose is to break the common visual habits of regular script, make them have different postures, add interest, and pursue the beauty of their changes.
5. Increase or decrease. Sui Seng Zhiguo's "Song of Heart and Heart" says: "If the complex is reduced, the sparse should be continued to supplement." Others think that "the sparse potential should not be supplemented, but the dense potential should be supplemented." The creation of calligraphy is the calligrapher's omission or addition of characters according to the requirements of the situation. On the one hand, it breaks the evenness and neatness and increases the sense of density. On the other hand, it is the aesthetic transformation of the characters to create visual contrast. Of course, adding or subtracting strokes must be done in moderation. Examples can be seen in Zhao Mengfu's "Dengba Stele", "Shen", adding one stroke at the end; Liu Ti's "Shence Army Stele", "But" one more stroke; "Wandering", the double is reduced to a single.
It needs to be pointed out that the addition and subtraction of strokes in regular script have their origins, and most of them come from seal script. Therefore, the writer must be familiar with the ancient method and cannot make it up. I once saw a certain calligrapher writing "still looking at the present day", and "looking" (knowing words) with his hands on the eyes and writing "hands on the sun". Although subtracting one stroke follows certain writing rules, it is not meaningful. From this perspective, calligraphy is not just a writing skill. It must at least strengthen the cultivation of philology.