First, there are rows vertically and columns horizontally. This layout is suitable for content with a large number of words and must be completed within a certain size. Through calculation, the number of words can be grasped. The regular script grid should be slightly flat, so that the word spacing is tight and the line spacing is slightly wider. The natural layout of the whole text is neat and well-proportioned, with the beauty of artificial stitching. This kind of vertical and horizontal boundaries of rows and columns is called "Wu Silan" by the ancients. Jiang He's "Authentic Calligraphy" says: "There are three kinds of white cloth: the white cloth in the words, the white cloth in each word, and the white cloth between the lines. For beginners, the face should be evenly balanced. Once you know how to stop evenly, you should seek changes, slanting, straightening, and density. Scattered among them.” Since each word is constrained within a frame of the same size, it is also the easiest way to constrain one’s creative spirit. Two points should be paid attention to when writing this kind of composition: First, each grid is a small world, and there is also a small composition in this small world. The arrangement of the glyphs must be very appropriate and just right in this space, and it should not be too big. , standing upright against the sky and the earth, filling the left and right sides, but not too small. The sky and the earth are empty, and the left and right sides are empty. If there is too little white space, the organization will be tight. If there is too much white space, the layout will be scattered. It should be well-proportioned in size, top, bottom, left, and right, and the male and female will be compatible. Naijia, when writing small regular script, you must first focus on the position of the first stroke. If this stroke is wrong, the whole stroke will be out of position and cannot be saved. It is not easy to master this method. You have to write more and copy more. It is rare. This is wonderful. The second thing to note is that each character is constrained to be within the same size space. Therefore, it is important to avoid flat structures and uniform sizes, but try to use the size, length, width, oddness, density, opening and closing of the glyphs. , expansion and contraction and other changes, each character has a natural posture, and strives to be even in the unevenness, and to be symmetrical in the scattered, so as to make up for the shortcomings of this kind of composition. Therefore, when writing this kind of composition, the key point is to Focus on the structure of each character, and strive to make the shape of the character full of natural gestures, so that there is a subtle change in the plain and accessible. The second is that there are rows vertically and no columns horizontally. This layout is most commonly used in small regular script. People in the Jin and Tang Dynasties wrote scriptures and people in the Yuan and Ming Dynasties used this method to write scrolls. This layout breaks the shackles of the horizontal grid, so it changes from form. The above method is more flexible than the previous one, with rows and columns. Special attention should be paid to the uneven changes in a row, so that the rows are staggered and have their own style. Tang Linchu's "Shu Zhi" said: "Real calligraphy point painting, Each stroke must be intentional, short and appropriate, and complete in conception. The shape of the cover letter has its own length, width, width, size, complexity, and simplicity. It cannot be generalized, but it can be adapted to its style and form, even if the characters are repeated. The unusual shapes and unique lines are so natural and surprising. "When writing in small regular script, although this change is not as strong as that of running cursive, it should still have uneven changes to maximize the natural beauty.
Since this kind of composition breaks the shackles of horizontal grids, special attention must be paid to the relationship between the upper and lower characters in each line and the flow of Qi. , there must be a spiritual connection. Regular script often produces posture through the ups and downs of the fonts. Bao Shichen's "Shuang Ji" of Art and Usage said: "The sizes of ancient calligraphy fonts are quite different, such as the old man carrying "Young Sun Xing" is of varying lengths, but sincere feelings and pains and itches are related. "This kind of layout that seeks naturalness in the unevenness and smoothness in the patchwork greatly adds to the interest of the regular script.
In this kind of composition, the space between the lines and words also has legal rules. Generally speaking, the intervals are white and the distance should be even. It will naturally fit up and down and be proportional to the left and right, but there are also words. Those with tight spacing and wide row spacing are the Zodiac Zhou in the late Ming Dynasty. Ni Yuanlu often likes to use this kind of composition. There are also compositions with wide letter spacing and wide line spacing, such as the Yang Ning style. Zhang Jizhi and Dong Qichang liked to use this method. There are also compositions with tight letter spacing and line spacing that are both red and specific, such as Yan Zhenqing's "Small Character Magu". Immortal Altar". In short, in this flexible layout, the dense ones should not be too close, and the sparse ones should not be far away. The dense ones should be flowing, lively and not dull, so that although they are dense, they are still sparse. This is the so-called white space and the spirit of the distance. If the writing style is sparse, it will be bundled and the flow will not be stagnant. Although it is sparse, it is still dense. It is said that there are many blank spaces but it is mysterious and dense. Only in this way can the effect of appropriate density be achieved.
The third is no rows horizontally and no rows vertically. This kind of composition completely breaks the constraints of Wuslan. Therefore, it is easiest to bring out one's artistic personality and the most free and frank writing style. It originates from Regarding the ancient Jinjia inscriptions, that is, the deeds and early bell and tripod inscriptions, the layout of these ancient inscriptions is either upright or oblique, large or small, sometimes sparse and sometimes dense, sometimes long and sometimes short, which are strange, vivid and uneven. Scattered, like the stars in the beautiful sky, they appear naturally. The ancients often borrowed this method when writing cursive and small regular script. When writing this kind of composition, you must pay attention to three points:
1. The writer must have an overall overall view.
Use the word "unification" as one word and the whole picture as a whole to emphasize the overall balance and symmetry. The contrast and anaphora are as unified as mine. We can find the overall balance and symmetry from the local unevenness and asymmetry, and find the overall balance and symmetry from various uncoordinated factors. To achieve overall coordination, to combine multiple contradictory forms into a harmonious whole. Therefore, when writing this kind of writing, you must seek straightness from unevenness and symmetry from patchwork. This is the art of calligraphy. A very advanced state of formal beauty. This kind of state is relaxed and relaxed, and the virtual and the real complement each other, which makes the work more full of life rhythm in the space on paper.
2. Although this kind of composition concentrates many contradictory and opposing factors, there must be an internal connection running through it. As Zong Baihua said: "Xiangguanlingfa is like a theme in a piece of music, which runs through and unites the whole song. At the same time, it expresses the author's basic musical thoughts. This method of Xiangguanling is, in calligraphy terms, It is also called the wrapping method. Wang Shizhen of the Ming Dynasty said in "Fa Shu Yuan": "The fonts have their own controls. One word controls two characters, and two characters control the word. In this way, one line controls two lines, and two lines control it. Three places, just take care of a piece of paper. "Discipline is like a chain, link by link, the words are restrained, and the whole character style is completed in one go, which can give people an artistic feeling of spiritual reunion. Zhu Hegen's "Linchi Xinjie" said: "The calligraphy and stippling require precision. When looking at the beginning of the writing in the ancient calligraphy, it is completely different from that of human beings. The structure is completed and finally meets people's wishes. It is like a good person's layout of several pieces, which is almost unpredictable. When it comes to the end, the response is meticulous and detailed. That is the wrapping method in Zhang Huaiguan's "Ten Methods of Using the Pen". This is a kind of gyration of momentum and force. Every word in a picture is connected and the lines are reflected, so it is natural to concentrate on it.
3. This kind of composition breaks the shackles of horizontal and vertical lines and allows for a relatively free world. However, it is written in small regular script with uneven sparsity and density. The ups and downs of the rhythm should not be too strong, but should be dignified and well-proportioned. The main theme should be followed after writing. You should follow the mood and take advantage of the situation to achieve your own success. Those who insist on the law will destroy the secret of heaven. Therefore, the beauty of this kind of composition lies in intentionality and unintentional, and it is the most fascinating. Guo Shangxian said in "Lun Shu" :: "The calligraphy of people in the Wei and Jin Dynasties is not without strict structure, but its composition is as wonderful as crimson clouds in the sky. It can be rolled out at will, intentionally or unintentionally, and it can be searched and interpreted four times, and it feels far-reaching and boundless." Take a look at Wang Xianzhi's "Thirteen Lines of Luo Shen Fu". The layout of the chapter is scattered, the lines are dense, and the style is Xiaoyuan. Its composition is dense but not too crowded, sparse but not too empty. It cannot be added or subtracted. It is as if it is made by nature and is extremely cohesive. Just like Jiang Ji's "Continued Calligraphy" "Length" said: "The length of the text is based on the composition, the real is the virtual, the real is spiritual, the virtual is the real, and the discontinuous is continued. Looking at the ancient books, there are pens outside the words, which are intentional, powerful, and powerful. This chapter and method It’s so wonderful. The thirteen lines of the jade edition are the first in composition. From then on, the lines are all uneven. If there are high and low density between the lines, they must be staggered and concealed. "Wang Duo’s small regular script is also uneven in size. The ups and downs of Qizheng appear to be dense and full of simplicity and natural interest.