Generally speaking, learning calligraphy begins with writing "Jiugongge" or "Mi Zige", focusing on the center of the square.
However, Qi Gong found that the center of gravity of Chinese characters is not in the center of traditional Mi Zige, but in four corners not far from the center. He also calculated that the proportional relationship between them accords with the so-called "golden ratio", which has important guiding significance for learning calligraphy.
Extended data:
Mr. Qi Gong emphasized the following two aspects:
Tight first, then loose, small first, then big. From the point of view of tightness, the shape of characters is often tight on the left and loose on the right, tight on the top and loose on the bottom; In terms of size, it is often small on the left and large on the right.
Looseness and tightness refer to the arrangement of density within a glyph. For example, the word "three" is generally written as tight on the top and loose on the bottom, while the word "Sichuan" is generally written as tight on the left and loose on the right; Small and large refers to the comparison of the size of the inner part of the glyph and the outline of the glyph. For example, the word "business" is often "◢". "
The change of tightness and size is closely related to the writing order. When writing a word, it is usually left before right, up before down, so the phenomenon of tight left and loose right, small left and big right is formed. Another example is "Yong". Although it is left loose and right tight, it looks inconsistent with the above-mentioned left tight and right loose, but it still conforms to the law of first tight and then loose.
It seems that continuous change is fundamental, and the left and right, up and down changes are just different manifestations of continuous change. Just as tight and small can be said to be closed, loose and big can be said to be released, so tight first and then loose, small first and then big, or it can be summarized as "closed first and then released".
Second, there is no real horizontal and vertical. Flat and oblique are opposite, indicating the orientation of stippling. Straight is the antonym of bend, indicating the trajectory of stippling. In Mr. Qi Gong's view, horizontal painting is neither flat nor straight, in other words, it is both oblique and curved. Vertical painting is not straight, but curved.
Mr. Qi Gong emphasized the bending of vertical painting trajectory, but did not discuss the direction of vertical painting. In fact, the vertical paintings in ancient posts are not all vertical, but tend to tilt left and right.
The orientation and trajectory of stippling can also be regarded as a matter of brushwork, and it is also meaningful for Mr. Qi Gong to discuss the structure. The trend of strokes plays an important role in the frame of words, especially in horizontal and vertical paintings, just like the walls and beams of buildings.