The elements for appreciating running calligraphy works are as follows:
1. Look at the brushwork
Successful brushwork should be rigorous, powerful, lively, smooth and round; At the same time, it should be non-rigid, full of variety, strong and strong, and its strength can penetrate the back of the paper.
2. Appreciating the knot body
The law of strokes is the knot, and the law is the body depending on the shape. As a line art, the artistry of calligraphy lies not only in the beauty of lines in pointillism, but also in the structure and shape of characters.
3. The method of appreciating seals
It is necessary to carefully analyze and study the correspondence between words and between lines, the size, length, thickness, straightness, and correctness of the words. How the relationship between moistening and dryness is arranged, and whether the momentum of the whole text is unified; it depends on the density and density of the fonts, and whether the white space is appropriate.
4. Appreciating artistic conception
Appreciating calligraphy is not only to appreciate the ingenuity and skill of the stippling, structure, and composition of the work, but also to appreciate the master, school, and style. More importantly, it is to appreciate the work through the work. Feel the calligrapher’s temperament, emotion, and aesthetic pursuit. Calligraphers create with their hands and thoughts, while appreciators rely on their eyesight and soul to discover the life and soul contained in their works. This is a kind of re-creation.
Things to note when writing running script well
1. Oblique posture
If Chinese characters are written too straight, the posture will be flat, and flat will be boring. Appropriate use of tilt and stroke balance can achieve the effect of using tilt to gain momentum. For example, the character "Tibetan" in Lu Jian's "Wen Fu" of the Tang Dynasty and the character "Tibet" in "Qian Chibi Fu" by Zhao Mengfu of the Yuan Dynasty have the main part tilted to the upper right, and the stroke of the hook turns the tide, making the whole character dangerous and unyielding.
2. Prominence of the main stroke
The main stroke plays the role of the backbone and backbone of a Chinese character. The prominence of the main stroke forms a contrast and dependence between primary and secondary, which is more in line with aesthetic principles. For example, the word "Hua" in Wang Xizhi's "Collection of Wang Zi Sacred Preface" and the word "Hua" in "Du Fu's Qiuxing Poems" by Zhao Mengfu of the Yuan Dynasty are the main characters of the word "Hua".
3. Space Creation
Architecture is the aesthetics of space structure. Calligraphy and architectural aesthetics are connected. If you understand this principle, you need to create space in a work and in a Chinese character. Create space, too. For example, there is a blank space in the middle of the word "ting" in Wang Xizhi's "Preface to the Holy Religion", but the word "ting" in Mi Fu's "Shu Su Tie" is tightened in the middle palace.
4. Stroke Indulgence
Stroke Indulgence is a small number of individual Chinese characters in a text that use their modeling characteristics to deliberately indulge in a certain stroke and write it in a casual and casual manner, which is different from other characters. Create a distinctive effect. For example, the word "year" is used in Tang Yu Shinan's "Shangyang Tie", and the word "year" is used in Yuan Dynasty's "Thousand Character Essay" by Zhao Mengfu. However, this technique cannot be used too much in one article, only for its adjustment effect.