There are three consciousnesses in stippling: First, the consciousness of official seal.
The official script, Cao Zhang and Han bamboo slips written by Wang Xizhi at that time are exactly what we ignore today. Wang Xizhi's calligraphy is elegant, which is accurate, but there is a misunderstanding that elegance means elegance and fluency. Learning from Wang Xizhi is not just relaxing, but the difficulty lies in simplicity, that is, seal script. Li, seal. Without seal script, cursive stippling is debatable, even if it is imported from Tang Kai.
The second is the awareness of statutes.
It is said in the cursive script for the continuation of books: ancient artificial grass is true today, so why not? He emphasized that cursive script should be treated like real script in terms of statutes, including seal script and official script.
Su Dongpo said: true books are hard to fly, and cursive scripts are hard to be serious. This is also an emphasis on laws and regulations. In cursive stippling, we repeatedly emphasize the ancient method and texture. Calligraphy stippling is a combination of brushwork, and cursive stippling should also emphasize simplicity and emotion.
The third is the overall consciousness.
The cursive strokes have their own special characteristics, both internal and external.
If cursive script still emphasizes writing, writing and collecting, let alone the creation of grass, grass is also very difficult. Cursive script emphasizes the overall relationship between strokes, knots and lines, the speed of using the pen, the thickness of stippling, and the dryness and wetness of the pen and ink. When these pairs of contradictions are combined, there will inevitably be a relationship, which is what calligraphers want to pursue. This relationship arises from the flow of cursive script. It may only be input and received in a word or a line of words, even between words and groups. The brushwork of cursive script should have a whole concept. The biggest feature of cursive script is to use a pen, not to express brushwork.
The reason why technology enters Tao and how to turn technology into Tao is a concept of link and connection. Don't treat it as an independent object, but judge its value in the relationship.
The three elements of calligraphy: stippling, structure and composition are relative and dual. As stippling, every stroke we require to complete in our research has independent aesthetic value, but it is not necessarily in our application. Why, because it is necessary to meet the needs of the combination between stippling and stippling; So is the structure. Every word should be beautifully written and standardized. But in the process of creation, every word is beautifully written, and it is difficult to link them together. Without it, it can't be highlighted, and beauty is produced in combination. The same is true when thinking about composition. The contradiction between composition and display requires a sense of overall situation and overall concept. This is especially important in cursive script.