From the beginning of the pen, stippling, word by word, combine some strokes left on the paper with other strokes walking in the air, and continue writing one by one until the end of the text. The change of rhythm is created by pressing and pressing in the order of priority, so that the viewer can enjoy the calligraphy works in the order of writing lines no matter where he focuses his attention, just like enjoying music. This kind of "one book", which reflects each other up and down, takes time to unfold slowly, and the process is slow and more lasting. But the visual effect is not strong, and this kind of composition is good at expression. The combination of written words and written content is suitable for traditional reading habits and aesthetic tastes. For example, as shown below:
Or this:
Chinese characters are square, well-behaved, horizontal and vertical, which produces a static and stable psychological feeling. The feeling of living wave needs to make the structure of Chinese characters tilt left and right. With the intensification of the tilt, it will produce a sense of turbulence and gap, which will cause nervous psychological feelings to the viewer. At this time, it is necessary to rely on the support and cooperation of the upper and lower glyphs, so that words without pen and ink coherence have a strong tendency of mutual echo and expectation and a painting-style composition form. This form is not suitable for expressing the text read, but more like a painting, with strong visual effects and closer to the appreciation habits and aesthetic tastes of contemporary people. For example, as shown below:
Traditional calligraphers emphasize brushwork, strokes and structure, and give consideration to spatial modeling. This composition, which gives consideration to both up and down strokes and echoes the left and right poses, is the composition of the book. Since Wang Xizhi in history, many calligraphers have pursued the following goals:
The main characteristics of composition are unity of opposites and similarity. In calligraphy, thickness, length, forehead edge, size, wet and dry, shade, density, virtual reality, opening and closing, and closing are all comparative relationships. They are mutually exclusive and interdependent, independent and integrated, and have deep internal relations with each other. The elements in the works have different positions, but their shapes or ink colors are consistent, and they have certain similarities and echo each other to form a whole.
Composition is mainly based on separation, and the characteristics of all modeling elements are brought into full play, and the works produced are quite rich in connotation. Using the principle of unity of opposites and similarity to combine and juxtapose, so that their respective characteristics complement each other and shine with each other, resulting in a new form of works with strong visual impact.