The skinny gold-style characters are suitable for inscriptions on his meticulous paintings, echoing the brushes. As an artist with both calligraphy and painting talents, he made a very important integration of calligraphy and painting, creating a new situation in literati calligraphy and painting that integrated poetry, calligraphy, painting and printing, and his influence on later generations continues to this day. Below are the exquisite calligraphy works in thin gold style that I have compiled for you. I hope it will be useful to you!
Appreciation of the exquisite calligraphy works in thin gold style
Pictures of exquisite calligraphy works 1
Pictures of exquisite calligraphy works in thin gold style 2
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Picture 4 of exquisite calligraphy works in thin gold style
Characteristics of thin gold style calligraphy
The pen movement in thin gold style is erratic and fast, and the handwriting is thin and vigorous , is very thin without losing its flesh, and traces of running Tetons such as hidden fronts and exposed fronts can be clearly seen at the turning points. It is a font with a quite unique style. Based on the image theory, this style of writing should be "thin body". Using "gold" to change "tendon" is a sign of respect for the imperial book.
Song Huizong’s calligraphy strokes were thin and hard. He first learned from Huang Tingjian, and later learned from Chu Suiliang and the brothers Xue Ji and Xue Yao. He mixed various calligraphy styles, absorbed the strengths of others and came up with his own ideas, and finally created The unique "thin gold book" style has great influence. The calligraphy of the Song Dynasty is known for its charm and charm. Zhao Ji's Thin Gold Calligraphy embodies the similar aesthetic taste of the era, which is said to be "the beauty of the sky and the leisure and leisure"; it also has a strong personality, which is said to be "like bending iron and breaking gold". .
This style of calligraphy has never appeared in previous calligraphy works. Chu Suiliang's thin brushes are only slightly the same, but most are different. Compared with the calligraphy of Xue Yao in the Tang Dynasty, it can be said to be the closest. Maybe Zhao Ji changed the style from Xue Yao's "Shi Cong Shi", but his creation is obviously much more mature than Xue Yao. This is a very mature calligraphy style, and Zhao Ji has given full play to its artistic personality. This kind of calligraphy style, which is thin and crisp, with sharp edges like orchids and bamboos, requires extremely high calligraphy skills and cultivation, as well as a calm and calm state of mind. Of course it is not easy for others to imitate. Many descendants have studied his calligraphy, but those who have mastered his marrow are as few as the morning stars. Jin Zhangzong once imitated Huizong's thin gold calligraphy and inscribed famous paintings and calligraphy in Mingchang's palace that were robbed from the Song Dynasty, such as "The Spring Outing of Lady Zhang Xuan and Guo Guo" which is said to have been copied by Zhao Ji. The writing style is weak and the shape and quality are poor.
The writing method and characteristics of the calligraphy trembling pen
The trembling pen is to move back and forth against the trend through appropriate lifting and pressing movements, jerking movements, and strengthening the friction between the pen and the paper, which is reflected in the stipples. The shape is scaly and undulating, and the edges of the lines are not smooth but hairy. There is a feeling of stopping in the moving line, and more importantly, it adds to the inner changes of the pointillism. Bao Shichen said in "Yizhou Shuangji": "I have seen tablet rubbings from the Six Dynasties, and they were left everywhere and left everywhere." Wherever the path passes horizontally or straightly, the ancients would gradually stop and frustrate it, and would not move forward hastily. This path would be left behind. If you can keep your pen, you will not make the mistake of being frank. However, the reciprocation against the trend and the friction on the paper should be coordinated and natural, the movements should not be too large, and there should be no artificial distortion. It is necessary to maintain the overall sense of the lines, and contain a certain sense of astringency in the flowing lines. Do not be hairy for the sake of hair, or astringent for the sake of astringency, so that the edges will have a hard tooth shape. Therefore, when using the war pen, you should not only pay attention to the surface shape of the lines, but also pay attention to the inner expression of the spirit, charm, strokes and strength.
The trembling pen also needs to solve the problems of slowness and malaise in pen movement. If you use the pen too fast, the movements will be slippery and the momentum will not be astringent. If you use the pen too slowly, it will be artificial and dull, and the momentum will not be fast. Therefore, it is necessary to use the center pen to control the speed of the good luck pen to achieve the effect of moving quickly, moving without slipping, and staying without stagnation. Zhanbi is the combined use of pen power, pen speed, pen gestures, pauses, etc. Only when the combination is natural and coordinated can we write vivid and powerful dot paintings.
Just as many calligraphers do not understand that the highest state of calligraphy is Taoism and nature, many calligraphers also do not understand the characteristics of the strokes written by "trembling" or "trembling", and they cannot explain clearly "trembling". Or the specific shape of the strokes written with a shaking pen. Since trembling or shaking is an involuntary mechanical repetitive action with the same frequency, it is a simple repetition without change.
The characters written by such trembling arms and wrists have the following characteristics:
1. Deliberately pursuing the spirit of gold and stone, the same frequency of lumps or the same wavy curve appears in a stroke of writing. .
2. Stagnation points with the same frequency appear in a stroke of the astringent pen.
3. Zigzag shapes that appear with the same frequency in one stroke of the sliding pen.
The fundamental characteristic of vulgar brushwork is the repetition of the same stroke without change.