However, with the emergence of modern grass and big grass, the square shape has been broken and tends to be round because of the high frugality of strokes and the acceleration of pen lifting speed. Especially through Huai Su's bold exaggeration and ingenious creation, the shape of his calligraphy has reached a refreshing feeling.
In autobiographical notes, some characters with no frame, such as "Comment", "Man" and "Doubt", have shaped a circular glyph, which is a creation of Huai Su.
However, whether it is a single word or a combined word, no matter how the length, density and concavity of stippling change, it is always the same as a square, so there is a circle in the circle and a circle in the square, and Fiona Fang is used interchangeably. Because there is a square and a circle, there is no circle without a square, so if there is a square in the circle and a circle in the square, it will be more obvious, and motion and stillness also exist relatively.
The second feature of this post is that it has developed from a broken book to a disintegrated book. Wang Xianzhi's tattooed calligraphy dares to break the shackles of his father Wang Xizhi, and break the general methods of square and white.
And Huai Su's Wild Grass is the way to break Wang Xianzhi's previous white cloth and honest and frank. Huai Su's zigzag layout, from word to word, from line to line, staggered up and down, staggered left and right, and alternated in size, greatly expanded the range of "hovering in the air", broke the shackles of "broken books" and entered "disintegrated books" from "broken books".
The so-called "disintegration" is to fundamentally break the previous physical situation and all the methods of formation, and integrate the seal, the official, the truth, the line and the grass into one furnace. He created his own unique new cursive script, the so-called wild grass. The third major feature of this post is that it is unconventional and wins by risk. Huai Su wants to break the common methods of laying white, such as leveling, squareness, and vertical rows and columns. What is more prominent is that between words and rows, they are uneven, strewn at random from left to right, and the size alternately wins by risks.
Huai Su adopted various artistic techniques such as breakthrough and establishment to make it full of changes. Huai Su boldly overstepped the rules, but at the same time he was somewhat unconventional. Breaking and standing are also relative.
Sun, a famous calligrapher and calligrapher theorist in the Tang Dynasty, said in Book Score that this is just like a beginner's distribution, but seeking righteousness, knowing righteousness and tending to danger can not only avoid danger, but also return righteousness.
The first level is just a rule, and the danger is a break. As for the second level, it is the new legislation after the break and the new balance after the crisis of calligraphy. Stand without breaking, stand with stability, and break with danger. Only by breaking and standing can we have unlimited scenery.
Huai Su also adopted the method of "big sparse and big dense". The arrangement of density changes in white cloth is an important topic of concern to Huai Su. For example, the word "Lai" in "Drunken Letter Hand" is vertical, as long as possible, accounting for almost half of a line, which can be described as big and sparse. The other three words only account for half a line, which is a great secret, that is, every line has truth, and there is truth in the virtual.
Huai Su's chapter layout has both changes and unification. The arrangement of words and lines in this post has both changes and unity, and has a global view. The stroke thickness of Chinese characters is different, the font size is different and the size is staggered. To arrange them somewhere, we must find the right words and lines. Words can be connected up and down, but not with strokes, but with meanings. To be "energetic", we must prevent words from sticking together and be lively.
The so-called vitality means that it can not only "connect the preceding with the following" but also "make a difference", connecting and flying. Break the meaning of the pen, break the potential of the word, break the line and get the gas, and be more energetic. For example, the word "Lai" in the line of "Drunken Believers" has a long vertical connection, which can be said to be a connecting link between the preceding and the following. With a few apostrophes in the middle, this word becomes the "finishing touch" in this line.
Huai Su greatly changed the Fiona Fang, size and orthography of the characters in the cursive script structure, boldly exaggerating the deformation and striving for change.
For example, the size of words changes, and sometimes even the difference between two words connected up and down is three to five times or even ten times. Another example is the change of length, and some glyphs are stretched to two or three times the width. This change is characterized by "unity" and "harmony" in the change, reaching "violating without committing crimes, harmony without differences", which is changeable but harmonious and unified.
In a word, the font structure and layout of Huai Su's "Self-Narrative Post" adopt the methods of alternating size, density and contrast, and the virtual and the real are inclined, which often makes each line of characters deviate from the central axis, resulting in the risk of ups and downs, from breaking the body to disintegration, breaking the old balance, thus creating a cursive image full of new ideas.
Huai Su made full use of the changes in the shapes of points and lines, as well as the ingenious cutting of Fiona Fang, dry-wet contrast and blank space, which made calligraphy have the rhythm of music, and made the viewer and the reader sing together, share joys and sorrows, and * * * bathed in the rhythm of calligraphy. Huai Su's Wild Grass is a classical romantic calligraphy art, which has been appreciated by people for thousands of years.