The Content of Yuan Guantie's Works

The cursive calligraphy of Yuan Guan Tie is mainly simple, although it is occasionally lingering, but it is also simple but not complicated. There are only six places where the two words are connected together, such as "province", "small big", "child", "number of questions", "help" and "first step", and no three words are connected together. Occasionally, the pen is like a brush, such as the word "no", and because the pen is not easy to send out in front, the last lingering of the word "far" and the fork at the back of the pen just show that the pen is not easy to use, which makes it inconvenient to rotate and collect the pen. The words in Yuan Huan's post are not dense, which is different from those in Seventeen posts. Glyphs play in many directions, and no one is addicted to them. There is enough space.

Although the whole momentum is not smooth, it is harmonious and unimpeded, without any stagnation. The strokes are neat and neat, and the thickness is even, which is refreshing without losing the interest of simplicity. It can be seen that the ancients did not blindly seek sloppy, but dignified and unobstructed; But on the whole, full of energy and enthusiasm, in one go, like the agitation of a waterfall. Sometimes there are waves, enough to linger among them, and understand the meaning of sending feelings and words. There are many engravings and temporary editions of Yuan Guan Tie in past dynasties. In "Research on Ten Tanks and Seventeen Sticks" (2009), Cai Mengxia made a comparison from three aspects: different rubbings, woodcut stickers and stone carvings, and famous artists copying ink, so as to deeply explore the characteristics of Wang Xizhi's calligraphy pen and copying Yuan Guan Tie.

Comparing Tang Ben's Yuan Guan Tie with Song Tuoben, for example, the word "fen" turns subtly in Tang Ben, and its reference changes greatly; But stone carving is relatively straightforward, less complicated and easier to master. We can see that there is still a joint relationship after the seventeen posts in the Song version are turned white, but compared with the Tang version, this joint relationship is relatively weakened. Moreover, the Song version changed many contrarian connections in the Tang copy into homeopathy; At the same time, engraving simplifies the strokes and becomes the center. For example, the word "no" in Yuan Huan Tie has the tendency of hanging upside down in the air, while the block copy is directly connected. Although from the perspective of fluency, most prints become smooth and the visual direction is more direct and smooth; However, there are many spatial changes in the manuscripts of the Tang Dynasty, and the trend is wider and farther.

Seventeen works copied by calligraphers in past dynasties used more pens before the Song Dynasty, and most of them were centered after the Song Dynasty, with Ming and Qing Dynasties as the main center. For example, in Yuan Dynasty, Kang simplified the use of pen and used the same gesture to pursue the fluency of writing; In the Ming Dynasty, Dong Qichang adopted simple and elegant methods to increase the distance between words, and the center tended to turn forward, but rarely carved the seal script of the Song Dynasty. Center is a brushwork, not a texture, but the use of wingers by calligraphers in Jin Dynasty can also give people a central texture.

Wen Zhiming's Zhu Shi edition of Seventeen Articles is a stone carving version with clear lines, which is more detailed than the collection in Shanghai Library. If learners want to be unrestrained, they can copy Zhu Shi Ben; If you appreciate roundness and tenderness, you can start with "the picture above". Copying in the Tang Dynasty is different from stone carving. The fine stippling in the Tang Dynasty made it difficult to create Chinese characters. Relatively speaking, it is easier to master writing Chinese characters with lettering. Because it is impossible for a copyist to master all the techniques and fully display them at the beginning, he can choose simpler stone carvings to learn. From the perspective of copying seventeen posts, learners can not only imitate the flavor of engraved posts themselves, but also use the texture of stippling in copying to understand seventeen posts. In addition, you can also add the posture of big grass. For example, Wang Duolin's Seventeen Posts in Qing Dynasty added the continuity of "potential" to the calligraphy of Zhang Zhi and Wang Xianzhi. The Complete Works of China's Calligraphy contains Atao's Yuan Guan Tie, which says: "The word" An "at the end of the five elements (Yuan Guan Tie) is 10% more, which may be a mistake." Writing the word "female" under the word "Yao" is the same as the word "female" in the word "An" in Yuan Guan Tie, which is a backhand gesture of "strangulation" (one of the eight permanent characters) and is not wrong. The difference is that the word "female" in Yuan Huan Tie is big at first, then the second word merges inward, pauses a little, and then turns right after "le"; However, the first stroke of the word "female" in the engraving "Shu Tian High Speed Rail" is very small, almost straight. Accordingly, directly "le" and then turn left to press the pen.