The cursive script is divided into Cao Zhang and today's grass, and today's grass is divided into big grass (also called crazy grass) and small grass, which feels beautiful in madness.
"Shuo Wen Jie Zi" says: "There are cursive scripts in Han Xing". The cursive script began in the early Han dynasty, and its characteristics are: keeping the outline of characters, damaging the official rules, rushing away and rushing away quickly. Because of the meaning of grass, it is called cursive script.
There are rules to follow in the changes of strokes, such as the urgent chapter of the Three Kingdoms Wu in Songjiang Edition. Today's grass is eclectic and fluent, and its representative works include "Early of the Month" and "Timing" by Wang Xizhi in the Jin Dynasty. Mad grass appeared in the Tang Dynasty, represented by Zhang Xu and Huai Su, and its brushwork was wild and uninhibited, which became an artistic creation completely divorced from practicality. From then on, cursive script was only the works of calligraphers imitating Cao Zhang, Cao Jin and Kuangcao. The representative works of Weeds, such as Abdominal Pain by Zhang Xu in the Tang Dynasty and Autobiographical Postscript by Huai Su, are all existing treasures.
Although the composition of cursive script is difficult to shape, it also has its principles that must be followed.
(A) momentum through
"The potential of coming to the deep bridge is unstoppable." To make static words come alive, we must talk about "potential". Trends are developing, flowing and changing, so Cai Yong thinks that writing trends should come and go naturally and irresistibly. This "potential" is "blood vein" and "muscle vein", which is the root of the formation of the momentum of composition and one of the reasons for the formation of cursive script.
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Complicated changes
The complexity of cursive changes is indescribable. Simplification refers to the simplification of character size, density, pen thickness and accuracy. Huai Su's autobiographical notes and Zhang Xu's Four Ancient Poems have done their best, and their composition is often referred to as "sleet". Such as fallen leaves, dazzling, but the leaves are extremely regular, irregular in the rules, and visually moving. Careful scrutiny, every word is lying quietly on the paper, untouched, which is the artistic effect caused by its intricate changes. The overall effect of forming cursive script is: full of paper hovering, flying, full of inner gas, very affectionate, very romantic and irresistible passion. Ding pointed out brilliantly in "On the Essence of Calligraphy": "On the one hand, the solid structure is dense and the big grass structure is sparse, and the solid structure is sparse and the big grass structure is dense in the whole picture." As far as people are concerned, cursive script is the most distinctive, which can best meet people's psychological needs of seeking differences and attract people's attention.
(3) Actual situation and actual situation.
Cursive script should be "virtual and real". "Reality" refers to stippling on paper, that is, black places painted with ink; "Virtual" refers to the blank space other than stippling on paper, that is, the blank space without ink. Laozi said: "Knowing white and keeping black" refers to the truth and falsehood in philosophy, which is a way to understand and reconcile the contradictions of all things in the world. When used in calligraphy, it is necessary to adjust the relationship between black and white. If it is too dark, it will be a mass of ink, which is suffocating; If it is too white, it will be empty, and the gas will be slack. There should also be "the beauty of light transmission" in cursive script, and the elegance of its works is often reflected in the wonderful use of "white", that is, the charm and elegance of calligraphy art are reflected in the "virtual" place. Deng said: "Painting and calligraphy can be done in a sparse place, but not in a secret place. It's always black and white, and fun comes out. " To treat cursive script, we should be "virtual and real", "virtual and real", virtual and real, complement each other, so that words and lines are integrated and meticulous. Therefore, Liu Xizai said: "The ancients cursive script, with few blanks and far spirit, and many blanks and dense spirit." More blank space reveals its density, which lies in the alternation of line thickness, the change of stroke opening and closing, and the disorder of font size, which constitutes the composition effect of virtual and real.
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