Running script is a writing style between regular script and cursive script. Running script was born out of official script, originated from the East
Running script is a writing style between regular script and cursive script. Running script was born out of official script, originated from the Eastern Han Dynasty, formed in Wei and Jin Dynasties, and matured in the Eastern Jin Dynasty. What I bring to you below is the appreciation of running script and calligraphy works. I hope you like it.
Appreciate the calligraphy works of running script 1
Fig. 2 appreciation of calligraphy works of running script
Figure 3 appreciation of running script calligraphy works
Figure 4 appreciation of running script calligraphy works
Figure 5 appreciation of running script calligraphy works
Three parts of running script
Running script is a kind of calligraphy between regular script and cursive script. Running script was born out of official script, originated from the Eastern Han Dynasty, formed in Wei and Jin Dynasties, and matured in the Eastern Jin Dynasty. Su Dongpo said, "If you stand upright and walk like a line, the grass will walk." Zhang Huai also said: "Running script is neither grass nor truth, it is still far from the square. It focuses on the period between Ji and Meng. Those who are both true are true, and those who are grass are grass. " Running script is simpler and smoother than regular script, and easier to identify, learn and use than cursive script. Wang Xizhi's running script is the acme of running script. He is known as the sage of calligraphy, and his work Preface to Lanting is regarded as the best running script in the world. There are many famous running scripts in the past dynasties, with diverse styles and rich personalities.
The classification of running scripts can be roughly summarized into three major departments:
King I II
Scholars and calligraphers of later generations, represented by Wang Xizhihe, were directly or indirectly influenced by Wang Xue's calligraphy system, and their representatives were Mi Fei and Zhao Mengfu.
Second, Yan Tixing calligraphy.
Created by Yan Zhenqing, he integrated the meaning of the seal strokes into the traditional brushwork, and the structure changed from the back to the front, and the square was round. Representative works include "Sacrificing a Nephew" and "Contending for Seats". The appearance of Yan Ti's running script changed the situation that Wang Shu dominated the whole country, and provided more models for later running script creation, thus promoting the reform and development of the running script system.
Wang Zongyan, a calligrapher of later generations, appeared one after another or blended with each other, making the calligraphy world more colorful and full of vitality.
Third, Wei Bei's running script
Calligraphers in Qing Dynasty wrote Wei Bei's posture and brushwork into the running script, which is a kind of running script. Representative calligraphers are Zhao and He.
Pen and ink tend to indulge, splash ink, vigorous, free and easy, colorful and innovative. His calligraphy was first learned from Yan Zhenqing, and later he took the inscriptions of the French Northern Dynasties. His regular script is tactfully written, and he is called "Di Wei's face".
He's calligraphy originated in Yan Zhenqing, vivid and mature. After Deng, he highly praised the study of steles. He advocated that "calligraphers should stand on their own feet". Write with the wrist-back method. This way of writing is far from normal physiological habits, so every time you write, you should "work hard" and finish writing "sweaty clothes" every time. Easy brushwork, thick and delicious.
Suggestions on running scripts
1, Lin Tie is the sum of running script savvy and skill.
Stickers should adhere to the combination of reading, copying and presentation, and take reading as fun. Through reading, the characteristics of points, paintings, structures, potentials and structures in the template are deeply imprinted in the mind; Copy its shape, the charm of words can not be separated from the structure, on the basis of reading, we should concentrate on the handwriting and remember all kinds of fonts correctly; After two steps of hard work, this step will be like a duck to water, and then take into account your own wishes, strengthen your own accumulation, and enter the quasi-creation.
2. To learn Wang Tixing's calligraphy, we should copy the Preface to the Holy Teaching.
We should grasp the artistic style and characteristics of this post, such as elegant brushwork, beautiful and elegant style, moderate and light breath, etc. The brushwork is restrained, the lines are thin and hard, the dots and paintings are combined, the radicals are arched, the strings are reflected, and the brushwork is pure and natural. Pay attention to correct common diseases such as poor bones, poor breath and dull ink. On the basis of access, we have to fight a tough battle. With reference to Lanting ink, we passed the test word by word from the aspects of font, word potential, pen type, stroke size comparison and ink color change. We should work hard on the back font to achieve the proficiency of exploring the contents of the bag when creating works.
The true level of a work, even the difference between an expert and a layman in calligraphy, often lies in a little bit, and so does the so-called "slim back, unscathed". Therefore, when writing, we must pay special attention to details, including the position of strokes, the combination of thickness and length, the size of fonts, the color of ink, the concession and echo relationship between strokes and fonts, and so on, even if it is a subtle change, so as to exercise and improve our eyesight. With the foundation of the preface to the holy teachings, it is much easier to learn the preface to the Lanting Collection, paying attention to the rules, consistency and exquisiteness. Then learn from Wang Zhi's letters, how Wang Xizhi refined words, how to ask for words with emotion and so on.
3. Learn the infiltration of "Qi" and the germination of "Potential".
Of course, qi is related to proficiency, but the key is to have this concept. Whether it is "reading", "facing" or "creating" is very different. You can find this argument from the ancient and modern book theory and read it carefully.
4. Huang Tingjian's writing is vertical and horizontal.
Huang Tingjian's calligraphy stippling is open, although it is radial structure, but it is not loose; The body is tilted, but it does not fall down. Song Feng Ge Shi Juan is his masterpiece in his later years, and all the above characteristics have been fully reflected. When writing, we should pay attention to the beauty of the connotation of "something in the pen" pursued by Huang, that is, "verve" wins.
5. It is still relatively high to learn from Mifei.
To read this post well, we should first understand the general characteristics of Mi Fei's calligraphy, firmly grasp the artistic features of this post, and then carefully study its brushwork, structure, composition, brushwork, especially the characteristics of brushwork, so as to change our penmanship habits. Memorize the fonts to the extent that you can skillfully use them when creating, and don't just sketch them. Mifei's wrist is full of vitality, and his brushwork is peculiar, moist and gorgeous, and he is very particular about brushwork and gestures. Strength depends on potential, and potential depends on strength, so the bone strength is graceful and the brushwork is smooth.