Early stage of four-character brush regular script works? Regular script? Official handwriting is still rare, with a slightly wider structure, long horizontal painting and short straight painting. Wei Jinzhong handed down from generation to generation, such as Zhong You's Declaration Form (left), Ji Zhi Biao, Wang Xizhi's Theory of Music and Huang Tingjing, can all be regarded as representative works. Look at its characteristics, as Weng Fanggang said: Change the wave painting of official script, pick it up, or keep it vertical? .
After the Eastern Jin Dynasty, the north and the south were divided, and calligraphy was also divided into two factions. The calligraphy style of the Northern School has inherited the legacy of Han Li. The brushwork is simple and rigorous, but the style is simple and rigorous, so it is called "Weibei". Southern calligraphy is more sparse and beautiful than letters. During the Northern and Southern Dynasties, because of regional differences, personal habits and book styles were very different. The books in the North are strong and the books in the South are rich, each of which is wonderful and inseparable, while Bao and Kang Youwei highly admire the books of the two dynasties, especially the epitaphs of the Northern Wei Dynasty. Kang cited ten beauties to emphasize the advantages of Weibei.
Regular script is an important part of the formal beauty of calligraphy. Stippling is the beauty of lines, frame structure is the beauty of local composition, and composition is the beauty of overall composition. The laws of Zhao Ti's regular script can be studied and grasped from two aspects.
First, uniformity. The overall sense of regular script, first of all, is neat. The arrangement of words and lines is equidistant, giving people a steady and solemn visual effect. This form is most suitable for regular script in a strict sense. If the shapes with different knot widths and lengths change locally, there will be no disharmony or monotony in regular script that is uniform but not stiff.
Second, diversity and unity. The biggest feature of Zhao Ti's regular script is that it contains elements of running script, and its brushwork is changeable, taking characters as shapes, without deliberate arrangement, and it has a very harmonious and unified relationship in diversity and changeability. It gives people the feeling that there is movement in silence and affection in words. A calligraphy work is first infected with its overall effect, which is composed of countless parts. Therefore, when arranging the composition, we should not ignore the details of each word, such as the shape, length, change, and sense of rhythm, which require careful consideration and strict design. Only after a long period of unremitting tempering can we handle the composition freely, presenting a design beauty that seems to have no design, and reaching a higher realm of calligraphy art.