Calligraphy techniques have always been divided into three parts: brushwork, word structure and composition, and there are few descriptions about ink method. This book also arranges the contents of the first three parts accordingly, which constitutes the basic part of this book.
We have redefined and explained the technology discussed in the literature and recent works. In addition, the exercises also include some skills that have been "lost" They are characterized by "Swing Pen II" (Exercise 1 17), "Continuous Pen II" (Exercise 123), "Continuous Pen III" (Exercise 124) and "Pointing the motion track of the pen tip" (Exercise/kloc
Brush Analysis IV (Exercise 143) provides a method of "trial and error adjustment" on the basis of Zang Feng II (Exercise 15) and Swing II, which gradually approaches the complex stippling shape. Some movements are not complicated, such as "Dang Ⅰ, Dang Ⅱ" and "Zang Feng Ⅱ", but the writing habits of later generations have changed and these key features have been ignored. They are the starting point of those "lost" strokes.
Under the influence of regular script in Tang Dynasty, all kinds of books were added with "press" and "stay". The popular "hidden front" is the product of this writing method: make a circle (or press) with the pen tip and hide the pen tip (pen tip) in the stippling. This makes the beginning of strokes vigorous, but it destroys the continuity of writing, especially running script and cursive script, which has a great influence. Most of the running scripts and cursive scripts in the Jin and Tang Dynasties can be honest and rounded without any action.
Observe these works carefully. When writing, put the pen vertically on the paper, and the nib is wrapped in ink when it falls. I define it as a new way to hide the front. This kind of brushwork is helpful to break the imprisonment of "dull" brushwork in regular script in Tang Dynasty, and is of great significance to grasp the early cursive brushwork. Few people think that such a simple exercise is an important link to reproduce the "ancient law."
Introduction to Qiu Zhenzhong:
Qiu Zhenzhong was born in Nanchang, Jiangxi from 65438 to 0947. Dean of Lanting Calligraphy Art College of Shaoxing University, professor of Central Academy of Fine Arts, doctoral supervisor, and author of Forms and Interpretation of Calligraphy, Where Does God Live, Writing and Care, China Calligraphy: 167 Exercise, Qiu Zhenzhong Contemporary Painting and Calligraphy Poetry, Sisyphus, etc.
1947 was born in Nanchang, Jiangxi. 198 1 Graduated from Zhejiang Academy of Fine Arts as a calligraphy graduate. Master of arts. Now he is a professor at the Central Academy of Fine Arts, a doctoral supervisor, and the vice president of the Comparative Research Institute of Calligraphy and Painting. 1995- 1997, visiting professor, Nara National University of Education, Japan. He has held many solo exhibitions in Beijing, Geneva, Nara and Los Angeles, and participated in many important exhibitions such as "29 modern artists from China live at this time" (German National Museum of Modern Art).
He has written Forms and Interpretation of Calligraphy, Where Does God Live, Writing and Caring, China Calligraphy: 167 Exercise, Contemporary Calligraphy, Painting and Poetry in Qiu Zhenzhong, Sisyphus, etc.