Running script has the characteristics of both regular script and cursive script, but it is by no means that you can write beautiful running script by writing regular script well. Running script, as an independent character, has its own characteristics in its development.
To learn running script well, we must go through special copying training and master its brushwork and writing rules. We introduce the technical characteristics of running scripts from two aspects:
As far as brushwork is concerned
In the method of strokes, it is no longer like regular script, which requires going backwards and forwards, hiding the head and protecting the tail. Instead, the pen enters the front, the pen moves with the heart, and the pen follows the trend, or the pen is involved, or the front is picked. Never go back to the front. So many strokes have been changed. Most of these strokes are exposed. The brush gesture is obviously smooth. It also makes the running script more curved, and the strokes should not be too straight, which increases the sense of stippling and will not stagnate. These changes in brushwork naturally accelerated the speed of writing.
Dot color echoes. Because calligraphy is no longer collected, but most of the pens are raised, so the hook and hook of stippling are formed, that is, the last pen ends, and the next pen is naturally inherited, which makes stippling seem to be connected, but the pen is out of touch with the meaning, resulting in an obvious relationship of expectation and echo. Obviously, these condescension and echoes make the font more vivid and interesting.
The link between pictures makes it look forward to an echo. Sometimes, this kind of echo is written with a hairspring through the pen tip, and two or more strokes are connected in one go, making the words appear coherent and unique. For example:
Generally speaking, the inherent strokes of each character are heavier, and the connection between the two paintings is lighter, but they can't jump completely, otherwise they will appear dull and dull. Binding effect is one of the main features of running script, but it should be used properly. Blindly implicated and entangled, when intermittent, but self-defeating, forming weakness, is the taboo of running script writing. A calligrapher once said that "the effect of connection and disconnection is different, and it is easier to connect than to disconnect, so you should know when to disconnect". Therefore, it is another important feature of running script to separate the ribbon tied with thread from the echo of stippling to distinguish their different functions.
In fact, it has played a simplified role and accelerated the writing speed, but its original strokes have not been reduced, but there are links between strokes, not alone. In the running script, it is even simpler, that is, the original stippling is simply merged to form a unique writing method in the running script. such as
Among them, the four vertical points in the middle and the four vertical points below the word "Wu" are replaced by a set of connected vertical strokes, which not only keeps the appearance of the original word but also simplifies it. The rest of the words are written in this way. Sometimes, for the convenience of calligraphy, when writing calligraphy, you can even change the original stroke order, such as:
The change of collection and interpretation: compared with regular and rigorous fonts such as regular script, official script and seal script, running script has the same characteristics as cursive script. That is, it can adjust its font and stroke shape at any time according to the needs of composition and the characteristics of a word. For example, the words in Wang Xizhi's Preface to Lanting Collection, such as:
You can restrain, indulge, bend, stretch and contract at will, so you can do it for a long time. For example, you can also flatten it. This is the characteristic that running scripts can be collected and released.
There are many circles in regular script that have left the square, but there are many squares in the folded part, that is, Zhao Mengfu's writing based on the transformation of circles also reveals the meaning from time to time, which is undoubtedly necessary and also increases the number of words. Running script moves with the trend and changes endlessly. Fiona Fang is flexible and vivid. For example:
Therefore, notice the changes in Fiona Fang, and make it blend naturally, so that the effect of writing has both the rigidity of Fang Bi and the fluency and agility of a round pen. If you fold the square blindly, it will look stiff, while if you simply turn the circle, it will look vulgar, slippery and weak. In short, we should observe more in our study and think more in our creation.
Some strokes in regular script, such as repeated strokes and reverse strokes, are no longer used or rarely used in running script, and are more used in homeopathic strokes and strokes. Where it is light and thin, you need to close the pen and lift it gently, a little faster. The heavy part needs to be pressed again, and the speed is a little slower. Of course, the alternation of stroke thickness should have a reasonable ups and downs process and be natural. Lifting and pressing can be seen almost everywhere in the running script, and the changes of lifting and pressing within one word, such as the preface to the collection of words and holy teachings, should also be different within a painting, such as:
As for the layout of an article according to the needs of composition, it is also common in running script works. Calligraphers of all ages have their own experiences. If we carefully taste the works of later generations, we can appreciate the wonderful use of lifting pressure in running script writing.
"The beauty of calligraphy lies in the use of a pen." Today, some people think that the previous judgment is biased. Others, such as composition and ink painting, are also important. But calligraphy is the plastic art of lines, and improving the expressive force of lines is often the lifelong pursuit of calligraphers. Composition, ink painting and so on are inseparable from lines to complete the performance, and the expressive force of lines lies in the use of pens. Therefore, the previous statement can be said to be correct and cannot be ignored.
When it comes to using a pen, you can't help but mention your wrist. The two are inseparable. This point is often ignored or confused by beginners of calligraphy. As mentioned above, the movement of the pen can combine different styles of works, such as beauty, strength, simplicity and childishness. So what is the key to using a pen? Of course, it is the brain, but the idea of the brain is completed through the reasonable cooperation of fingers, wrists and arms. Fingers are too thin and delicate, and exquisiteness may be acceptable, but overall, it is not enough. No one can write complete Chinese characters. The arm is too thick, writing a list may not be satisfactory, but it is not satisfactory to be perfect. Then only the wrist is in the middle, which can play two roles. Especially the agility and exquisiteness of running script, sometimes it is all done by wrist movements. Wrist movement means that in the process of writing, the wrist should consciously command the brush to swing left and right, and slowly press it down to change the illusion. So that the writing effect is smart and smooth. For example, when writing hundreds of Chinese characters, the wrist must be tilted to the left and pushed to the right, and the end of the wrist in the horizontal direction must swing to the right immediately. When the pen is lifted, it will be pressed inward to a small vertical fold to lift the front to the right, so that the rotating belt will lift the pen inward to collect some points. This series of movements is the left and right rotation of the wrist. If you only use your arm to move the pen, it is obviously difficult to accurately write the lines with changing light and heavy, and it is even more difficult to accurately show some dexterity and write half a foot. Of course, if you write Berberis, you need the help of your arm, and the control pen is done by your wrist. Therefore, wrist movement is a crucial exercise course in cursive writing practice. Of course, the coordination of wrists, arms and fingers can not be ignored.
Select Articles and Copy
Some friends like to write freely and express freely, which is understandable from the perspective of creation, but writing should not be like this. Because practicing calligraphy should be to learn the good words of predecessors, master them, make them become our own skills, and overcome our own shortcomings. This is also the attitude we should adopt when learning any subject. Why practice? I must be aware of my own shortcomings, but I can't achieve my goal without paying attention to the methods when practicing. I often see some friends writing posts for a long time, and the words haven't changed much. The reason is nothing more than a temporary learning method. It is common sense to write on the spot. Pro is to compare the font on the copybook with its stroke method and word formation law. If necessary, we should collect some words from tissue paper and memorize them and apply them to pens, so as to change our writing habits, instead of just copying the text content on copybooks. Some comrades waste a lot of time and energy over and over again, but in the end they are still the same, and there is no progress. I'm afraid this is not caused by copying books. In posting practice, beginners or comrades who don't have a deep understanding of the original post may wish to enlarge the words, so as to better understand and analyze the brushwork and structure of the original post words. For some people who have mastered the temporary learning method, it is appropriate to use the original whole article, because for them, the brushwork and word formation rules are no longer a problem, and it is more important to understand the charm, composition or spirit and style of the original post. For beginners of calligraphy, we should carefully observe, analyze and experience the appearance, size, convergence and divergence, right and wrong, stroke fluctuation, retraction, length, angle, Fiona Fang and echo of the original post in clinical study. My experience is to select some words with representative structure and strokes and analyze them according to the above aspects. After you have an impression, you can start learning temporarily, then compare it with the original words, find out what is not in conformity with the original post, and then compare it with the original post. Repeat this several times, and gradually get close to or similar to the original post, so you can move the original post and recite it again.