Regular script sprouted in the Western Han Dynasty and prevailed in the Tang Dynasty. Xiao Kai, Tang Kai and Wei Bei in Jin and Tang Dynasties became the three main styles of regular script creation. Below I bring you pictures of regular script, brush and calligraphy. I hope you like them. Picture appreciation of regular script brush calligraphy
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Classification of regular script
There are three systems according to the time of appearance:
1. Regular script in Wei and Jin Dynasties: the method of taking it. Represented by Zhong You, Wang Xizhi and Wang Xianzhi's lower case letters, the emphasis is on lower case letters. For example, Zhong You's Manifestation Table, Hejie Table and Ji Zhi Table, Wang Xizhi's Theory of Music and Yi, Huang Tingjing, Painting Praise of Dong Fangshuo, and Wang Xianzhi's Thirteen Lines of Jade Edition, etc. At this point, let's briefly talk about the selection of posts in lower case. Choose posts in small letters, and recommend catching up with Wei and Jin dynasties, not taking Ming and Qing dynasties first. Why? The width is different. Wei and Jin dynasties were very free in small letters, which was like a pouring of large and small pearls into a plate of jade's feeling. The front is the seal script, which is translation, not lifting, and the overall performance is simple.
2. Wei Bei. This is a special phenomenon, and it is a kind of form mainly based on the steles of this era in the Northern Wei Dynasty. Later, this form was generalized, and all calligraphy works of this type were collectively called Wei Bei style. Its classification:
Cliff: twists and turns, long-term mottled, mainly round pen, Zheng Wengong, Shimen Ming, Zheng Wengong more standardized.
Statue: Twenty pieces of Longmen, with square folding and carving, sharp blade, Yang Dayan, Shi Pinggong.
epitaph: Sima and yuanshi county belong to the royal epitaph, which is relatively standard.
tablet: regular, such as Zhang menglong.
focus on Wei Bei: Wei Bei is the first glory after official script was changed into regular script. Wei Bei can be said to be in various forms, the thickest is Shi Pinggong, the most careless is Ma Zhen worship, and the most stretching is Yuanxiang statue. Among the 2 items of Longmen, the most founder is Sun Qiusheng, with a monument and a style.
Just now, I talked about the origin and classification of Wei Bei. Let's look back at what Wei Bei is.
What is Wei Bei? It is all calligraphy works covered by the styles of some steles carved in the Northern Wei Dynasty. The concept of time is weakened and the style type is strengthened. The tablet in calligraphy is not a form, it is an aesthetic element. It is simple and strong. Yin is soft and masculine, which can be mutually transformed and interspersed. Cao Quanbei, for example, shows a feminine body with masculine lines. China's aesthetic philosophy is dualistic and interdependent, with a lot of gray areas between black and white.
Calligraphy is the feeling brought by the spatial relationship between lines. The line itself contains static and dynamic, the strength and thickness of friction. There are changing lines in the movement, and the light itself can bring infinite feelings, such as calm lines, jumping lines, smooth lines and stagnant lines. The size of friction determines the difference between masculinity and femininity, that is, the line of Da Zhuan and Xiao Zhuan in the history of calligraphy. The lines that tend to be masculine are all based on Da Zhuan. The lines that tend to be feminine are all based on Xiao Zhuan. How to increase friction, twisting, spiraling and hovering force. When dealing with every pointillism in Wei Bei, it is forbidden to go straight, and then shape it after wrapping the front. For example, the point is completed in three strokes: pen-in, pressure-out, and reverse-push, so as to increase its sense of accumulation, instead of drawing, it is a sense of volume and increase friction. After winding, you should be slow, have a sense of volume and have enough ink. For example, when writing Shimen Ming, one kind is to apply actions, which is a completely technical twisting and transporting pen. One is the complete execution of the brush, because the route taken in the execution process is different and naturally twisted. In short, we should wrap the front and increase the friction. The cohesion of the brush to be exerted: draw horizontally and write vertically, and draw vertically and write horizontally. Monuments can expand our traditional writing, and the casting effect and accumulation of lines can't be achieved by ordinary writing with brush, which requires us to adjust the writing technology of brush. The performance of brush is endless, which can be gentle and beautiful, but also surf the shore. Each stippling corresponds to the movement of a brush. Musicians can convert the feeling of listening to the wind into notes, and calligraphers can also bring people spiritual feelings. All forms correspond to the motion state of a brush. All the tangible finally leads you to the intangible, that is, the expression of feelings, the expression of gas field and feelings. All technologies are stairs. You can't go upstairs without stairs, and you can't go upstairs if you stay on the stairs. Eventually, you will surpass technology, but now everyone is still climbing stairs.
in calligraphy, the essential things should be done first, and the core and the quality of lines should be grasped. Therefore, Wei Bei's temporary learning method focuses on grasping the thread quality and its structural characteristics, and does not deliberately describe its knife cuts and its stone flowers. Yuanshi county belongs to the Huang family, and Longmen is a folk one. In Wei Bei, there is a tendency to engrave, a tendency to engrave, and a tendency to book. The epitaphs of Yuan Huai and Dong Meiren are biased towards books, so everyone should choose the ones that are biased towards books first, and then filter them slowly.
The epitaph of Yuan Huai recommended to you today is biased towards books. First, its structure is close to our current regular script, which is upright and broad. Second, it has the typical characteristics as a monument, square and simple. This kind of book is easier to use and master.
another copybook is the epitaph of Zhang Xuan. Regular script 2 lines, each line 2 crosses, * * * 367 words. Zhang Xuanzi was a black woman, so it was popularly called "Epitaph of a Black Woman" in Qing Dynasty because she avoided the name of Aisingiorro Xuanye, Emperor Kangxi of Qing Dynasty. Its calligraphy is exquisite and elegant, with a flat and sparse structure, tight inside and loose outside, and more meanings. Although this epitaph is an official book, its brushwork is eclectic, introverted and natural and elegant. The center and the flank of the brushwork are both used, and Fiona Fang is also used, in order to combine rigidity with softness, which is a vivid and elegant style. It can be called the masterpiece of calligraphy in the Northern Wei Dynasty.
3. Tang Kai. This is a typical regular script. Tang Kai refers to the mainstream calligraphy style of Sui and Tang Dynasties, which is completely mature and stereotyped. From the perspective of calligraphy, it is popular or popular. However, most of the Tang dynasty's regular script is the object of later generations, and it is also the peak in the development history of regular script. Zhiyong's thousands of words, Ou Yangxun's Jiucheng Palace, Yu Shinan's Confucius Temple Monument, or Jinfa. It is the formation of Tang Kai from the beginning of Yan Suiliang. In other words, they are "inheriting the lingering charm of the Northern Monument of the Six Dynasties and opening the precedent of the Tang Dynasty". In Yan Zhenqing and Liu Gongquan, the multi-pagoda monument, the Yan Qinli monument, the mysterious pagoda monument and the Shence Army monument are more and more obvious, rather than moving. The way Jin people write is not to coincide with the appreciation of calligraphy, that is, to go to the wall. Jin people are in charge of the book, in the middle Tang Dynasty, high tables and high chairs appeared, with a push. From Wei and Jin Dynasties to the early Tang Dynasty, the brushwork was a natural movement of the hand, not a pen, but a wrist, not a pen, not a drawing, and it was written naturally. A slight side was enough, and Ou Yangxun and others replaced the book in charge with a high desk and a high chair. Chu began to form the Tang Kai, and it was not a translation. Such as Ou Yangxun, Yu Shinan, Yan Zhenqing, Liu Gongquan, Chu Suiliang and Zhao Meng: First, their origins; second, their unique circumstances. For example, Yan Zhenqing's ancestors were from Yan Zhitui in the Northern Dynasties, so his calligraphy style has the blood brought by the Northern School's calligraphy style, and his words contain the elements of tablet.
Wei Bei's style is different from Tang Kai's, and there are three main characteristics:
The difference in style orientation: the inscriptions in the Northern and Southern Dynasties are simple and naive, and they are brilliant and naive, such as the Monument to the Dragon, the Monument to the Great King and the Monument to the General of Guangwu. There is also a sense of strictness and beauty in many ways, such as Zhang Menglong Monument and Shi Pinggong Statue. Cliff carvings are mostly quiet and broad, and the weather is quiet, such as Mount Tai's Diamond Sutra. There are also Xiao Shu's works, such as Shimen Ming, but the Dian Li beautiful and elegant in Zhang Hei's Epitaph can be as good as the Dian Li Jing Ya in han li's Cao Quanbei.
By the Sui and Tang Dynasties, the model was mature, basically eliminating Wei Bei's sense of official seal. The form tends to be regular, while Tang Jie goes popular. Although the European book is solemn and quiet; Yu Shu's generosity and spirit; Sui Liang's agility and variety; Yan Shu's breadth is abundant; Liu Shu's compactness and rigidity. Compared with Wei Bei, he is less natural and more constrained by statutes. Seek the structure to be relatively stable and less strange. However, Tang Kai used a pen to write be adept at, which was meticulous and strict in statutes.
structural differences: Wei Bei's knots are almost natural, with a "child-like" appearance, but they are simple and simple, which is not as good as "child-like". In contrast, the structure of Tang Kai is perfect and the visual aesthetics is popular. There are Ou Yangxun's Thirty-six Ways to Knot Words, Zhiguo's Ode to the Heart, Zhang Huaiguan's Forbidden Sutra, and other calligraphy theory works that specialize in the mystery of knot words. Perhaps it is because of the agreement of the law that future generations respect the Tang law and dare not cross the line.
the difference between lines: Wei Bei's stippling is simple and rich, with a sense of flexibility, which is manifested by the jerkiness of lines. There are also beautiful and beautiful squares, and they are very different from Han carvings. It's both harmonious and peaceful. There are thousands of styles and features that are hard to enumerate here. Tang Jie, on the other hand, has the exquisite beauty of Europe, which makes him elegant and chic, with a rich and full face and strong willows. In the final analysis, Wei Bei is the line of Da Zhuan and Tang Kai is the line of Xiao Zhuan. Let's first grasp the most basic big differences and then look at their different style orientations.
regular script brush calligraphy pictures