2, grass c m: o
3. Li Li
4. Seal seal
5. Line xíng
Regular script, a font of Chinese characters, is also called regular script, regular script, original script and regular script. It gradually evolved from official script, becoming more simplified and more horizontal and vertical. The book Ci Hai is interpreted as "square in shape and straight in brushwork, which can be used as a model". This kind of Chinese character has the correct font and is a modern popular handwritten orthographic Chinese character.
Structural features:
1, ready to go
Yan Zhenqing said in "On the Twelve Meanings of Zhang Changshi's brushwork" that "the interest is long and the pen is short, which makes the spirit more than enough, and the painting is insufficient". In other words, the strokes and structure of writing should be implicit, the strokes should be short and interesting, the painting is insufficient but full of emotion, and the power in movement is hidden in the implicit strokes.
There is a momentum that is ready to go. Yan Zhenqing, a master of regular script in Tang Dynasty, used it best. His book can be represented by the story of Magu Xiantan in large print. The words "sound", "echo", "cloth" and "time" have short endings, but they are subtle and powerful. This is the result that he is good at using the structure and momentum of official script into regular script.
Step 2 fill in the blanks
Regular script should be full and harmonious, and the structure of some Chinese characters should be adjusted appropriately when necessary. The purpose of filling in the blanks is not to fill in the blanks of words, but to dissolve the structure of the original Chinese characters, extend, migrate, supplement and improve them in a blank, and then make the whole word structure have the wonderful effect of virtual and real.
It should be noted that we should assess the situation, be familiar with the principle of six books, and don't rummage through books. For example, Chu Suiliang's Yin Fu Jing, Saint, Yan Zhenqing's Dong Fangshuo Zan and Irony Yu.
3. Expansion rate
In Ode to Sincerity, Zhiguo, a monk of Sui Dynasty, said "return to tile, keep it" and "change and shrink it". What he means is, in a word, don't repeat the same kind of strokes, keep them, stretch them and shrink them. For example, two repeated accents must be contracted and extended to have the beauty of change. Radicals and structural units also have flexible changes in order to make the structure of words full of changing beauty.
4. Translocation
Common examples of tone sandhi in calligraphy creation, such as "Su" and "Qiu", have left and right tone sandhi; Write the word "goose" in the upper and lower structure. Some people think that the original characters are difficult to become, in fact, in order to break the common visual habits of regular script, make it have different postures, increase interest and pursue the beauty of its changes.
5. Increase or decrease
The creation of calligraphy is to save or increase the complexity of calligraphers' requirements for setting characters according to the situation. On the one hand, it breaks the flatness and neatness and increases the sense of density; On the other hand, it is the aesthetic transformation of characters, which produces visual contrast. Of course, increase or decrease the itinerary should be measured.