I often see some people who write brush characters, and their writing style is as chic as flowing water. There are many people who applaud, and there are also people who question. This may be a problem with the method, that is, writing the so-called soft pen calligraphy into hard pen calligraphy. The pressure can't be lifted, and the thickness change is not obvious. It's really smooth and chic. However, is calligraphy still soft pen calligraphy without the attributes of brush?
In the process of calligraphy, the word rhythm is often mentioned. Rhythm is actually the combination of speed and speed, which produces a sense of rhythm similar to music and makes people feel the beauty of music and dance! The rhythm advocated by calligraphy is not only as simple as aesthetic feeling, but also a deeper concept of brushwork, that is, lifting and pressing! Where do you need to eat? Where do you need fluency? Need every calligrapher to think deeply!
I have always advocated that calligraphy needs speed, even regular script needs speed, especially running script and cursive script. The sense of frustration in high-speed driving is like the sudden change of direction and drift of a racing car, which requires you to have superb pen control skills to best show the calligrapher's writing ability.
Many people say that calligraphy is not high or low, and there is no standard! According to the thickness change of lifting and pressing, we can judge the depth of calligraphy by analyzing the strength of writing.
The best state of writing is the unity of heart and hand. The light stippling and oblique dense structure are not only caused by the natural dissipation of coarse ink from more to less, but also caused by the technical choice of brushwork, so they follow certain laws and also have accidental factors of improvisation.
The laws that need to be grasped mainly include the following points, which are also relatively general. In summary, they are "three noes".
First, don't go against your will, and you can't deliberately arrange security. Calligraphy pays attention to nature and sincerity, and ink follows fate and reaches the end of the pen. The change of thickness and density is not the interval of numbers, nor is it deliberately "showing the mountains and dew" to describe calligraphy and painting, otherwise it will destroy and lose to nature.
Second, it is unstoppable and cannot be isolated and abrupt, which blocks the natural fluency of cutting off running script. The ancients generally wrote 5-9 words in one stroke, and the amount of ink and color in the middle decreased in turn. In addition, the difference between the brushwork and ink consumption of stippling modeling naturally presents rich and diverse changes, thus forming a flowing state. "The trend of coming is unstoppable, and the trend of going is unstoppable", which cannot be completely abrupt and block the smooth pulse of calligraphy.
Third, it is not appropriate to exceed the limit. The contrast change of stippling size, ink color and structure density can't be arbitrary, but it is limited. There are also some "stand out from the crowd" words in ancient inscriptions, but the width of the words is slightly different, generally not several times more than other words. In today's "calligraphy", in order to increase the dynamic changes of works, some big characters are several times or even ten times that of other characters, which is obviously contrary to harmony.
"The homology of painting and calligraphy" digs deep into the roots, books or books, paintings or paintings. If it is understood that calligraphy is painting words, as long as it is "beautiful", it is good, just like painting. With the change of running script, I can't get rid of brushwork, and my kung fu is mainly in brushwork.