In brush calligraphy, banner calligraphy is very popular and deeply loved by people. What are the calligraphy arts of banner brush calligraphy?
In brush calligraphy, banner calligraphy is very popular and deeply loved by people. What are the calligraphy arts of banner brush calligraphy? The following are the calligraphy works of banner brush that I arranged for you, I hope they are useful to you!
Pictures of calligraphy works with banners and brushes 1
Figure 2 Calligraphy works written with banner brush.
Fig. 3 Calligraphy works with banner brush
Fig. 4 Calligraphy works with banner brush
Form and potential in calligraphy art
Form and potential are the most basic and important issues in calligraphy art, and the situational theory originated from Sun Tzu's Art of War. During the Spring and Autumn Period and the Warring States Period, a hundred schools of thought contended, among which the strategist was an outstanding scholar. "Han Xing, Sean and Han Xin ordered the Art of War, where there are 182 schools". Ban Gu wrote The History and Literature of Han Art, and divided the art of war into four categories: one move, two potentials, three yin and yang, and four techniques. According to the records in Pei Songzhi's Notes on the Three Kingdoms, the required books recommended by Zhuge Liang to Liu Chan are legalist works and military books, and the books that Sun Quan suggested that Lv Meng "read urgently" are also historical books and military books. This shows that during the Han and Wei Dynasties, people were very keen on the art of war.
At the end of Han Dynasty, Wei and Jin Dynasties, while the art of war prevailed, the art of calligraphy also advanced by leaps and bounds. First of all, the script is becoming more and more mature, and the original thick lines of seal script have evolved into various stipplings such as horizontal and vertical, and the silkworm head and goose tail are full of twists and turns, and the shape is very exaggerated. Then, it quickly evolved from Asian script to regular script, from official script to running script, and from Cao Zhang to materia medica. These developments all emphasize the trend of writing, pursue the inheritance of stippling, and pay special attention to the brush gesture. The situation became the focus of calligraphy creation at that time, which was similar to Sun Tzu's Art of War in method. Therefore, people use the Art of War to discuss calligraphy. Cai Yong's "Nine Trends" said: "Husband's calligraphy is natural, but it is natural, yin and yang are born, and the situation is out." Yin and Yang and the situation in Sun Tzu's Art of War became the theoretical cornerstone of China's calligraphy history. After Cai Yong, Mrs Wei wrote a book with the method of war, named "Pen Map". The first sentence of Wang Xizhi's "After Mrs. Wei's Painting" comes straight to the point: "The writers of paper are also arrayed, and the writers of ink are also brilliant. The writers of ink are also shrewd, the willing are also generals, the capable are also auxiliary, and the builders are also counselors." This kind of research has become a trend, so that ordinary calligraphy works are all named after the situation. Cheng Gong has the style of official script, Wang Min has the style of running script, and Xiao Yan has the style of cursive script. Cai Yong has nine potentials, and Wei Heng has four-body calligraphy potentials * *, including word potential, seal potential, official style potential and cursive style potential * *, as well as Suo Jing's cursive script potential and Wang Xizhi's twelve-chapter brushwork potential. Even other works, regardless of character evaluation, work appreciation or technique explanation, are based on yin and yang and situation as the theoretical basis for analysis and evaluation. For details, please refer to Chapter 1, Section 3, "Situation Integration".
After Wei and Jin Dynasties, Yin-yang and environment became the core issues of calligraphy theory. For more than 1000 years, with the efforts of calligraphers of past dynasties, its content has been continuously expanded and deepened. Yin-yang theory bases all the forms of expression in calligraphy on a comparative relationship, such as the speed of using a pen, the thickness of stippling, the positive side of the structure, the density of composition, the dryness and wetness of ink color and so on. Situational theory divides all contrastive relationships into two series and combines them in different ways. A series, such as the thickness of Fiona Fang and the size of the front, are all modeling, modeling for space, and tend to draw. Other series, such as light and heavy speed, intermittent clutch, are all potential, are all time rhythms, and tend to music. The unification of the situation makes the development of China's calligraphy art gradually integrate music and painting, time and space, and become a metaphysical art. Because of this, modern Kang Youwei said that "books are metaphysical" in "Guang Yi Shuang Zhou", and then he said: "The ancients talked about books first." Pick out the word boundary as the basic definition of calligraphy art.