The tip of the brush
The tip of the brush is used to write with ink. The size of the contact surface between the tip of the brush and the rice paper determines the thickness and thickness of the strokes written. It determines how big or small the written characters are.
Taking regular script as an example, writing brushes can be roughly divided into small regular script pens, medium regular script pens, large regular script pens and sample book carrying pens. The pen length of a small regular script pen is generally about 1 cm, that of a medium regular script pen is 1-3 cm, that of a large regular script pen is 3-5 cm, and that of a bucket pen can reach about 10 cm.
No matter how long the brush is, it can be divided into three sections: the nib, the belly and the base, each accounting for one-third of the brush. Generally, the tip of the pen is mostly used for writing, which is less than one-third of the pen. In a few cases, more than one-third of the pen belly can be used for writing, but the root of the pen is rarely used. Of course, this is not absolute. This part is sometimes used in cursive writing. In the modern popular calligraphy style, many calligraphers like to use small pens to write large characters, which seems to have become a fashion. In fact, this is an unscrupulous practice and a damaging use of the brush. The "Three Fronts" of the calligraphy brush
The "Three Fronts" of the calligraphy brush are words often used in calligraphy theory, that is, the three states of the brush strokes during operation - center, side and side.
Yuan Dynasty Li Puguang's "Eight Methods of Yongzi·Eight Methods": "Those who are biased cannot make their pens straight, and those who are forward must not make their pens biased." This may be the earliest appearance of Zhengfeng in ancient calligraphy theory. and the concept of slant. In fact, there are no two concepts of center forward and side forward in the ancient calligraphy and theory, but only two terms: front forward and partial forward. According to this classification, center forwards and side forwards are both forward and can be used in strokes, while side forwards are diseased strokes and must not be used in strokes.
Zhao Mengfu, also a great calligrapher of the Yuan Dynasty, also said a famous saying: The writing technique is not easy to change through the ages. The timeless writing technique he mentioned should be Zhengfeng strokes.
I have not found the specific source of the three categories of strokes: center forward, side forward and slant forward, but I am certain that this classification only exists in modern times. This classification actually subdivides the forward into center forward and side forward, which is a more scientific formulation.
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The so-called side edge means that when writing, the tip of the brush should be completely opposite to the direction of the stroke, and the spread of the brush should be within the extension line of the stroke, but at a certain angle, so that the brush tip should be at a certain angle. The center line of the brush does not completely coincide with the center line of the stroke;
The so-called slant edge means that when writing, the tip of the brush points perpendicularly to the direction of the stroke, and the brush does not exceed the extension line of the stroke, so the strokes written are flat. Yes, no texture. How to use center forwards and wingers correctly?
So, how to judge and use the center and winger in the model post?
First of all, the center and the wing are different in form and feel. The former feels full and substantial, while the latter feels bold and sharp. Some people think based on this that "the center takes its quality, and the wing takes its momentum." Generally speaking, stipples that dominate the structure of a character or even the composition of several character groups are often used as center points, while stipples that can show the posture without damaging the overall relationship can be used as side points as needed. In addition, the center and wing feel different when writing. When you feel that writing a dotted line with a certain shape using the center edge is very awkward and difficult to imitate, if you change the writing method in time and use a side edge, you may be able to achieve your goal.
Secondly, when dealing with the relationship between center and winger, the most important issue is mutual conversion and connection. As mentioned before, in most cases, the center in a work should be in a dominant position. Occasionally, when one or two flanks appear, the brush must be readjusted to the center operating state in a timely manner during the strokes. This can be solved by restarting the pen where the connection between dots and lines is not obvious. When the connection between dots and lines is obvious, it is often necessary to write a set of lines without interruption before stopping the pen. At this time, if the pen tip cannot be freely changed at any time, it will be impossible to connect with the next center. However, it is difficult to connect by restarting the pen, because it will easily destroy the established connection relationship. Therefore, we must rely on the movement of the fingers and wrist to guide the pen edge to rise and fall along the way, and write while writing. The pen edge has been adjusted.
Third, the center and the wing are constantly changing, and you must learn to make flexible transitions while writing continuously.
This is very important, and it is also an important surface that reflects the basic calligraphy skills of calligraphers, especially the creation of cursive script. It is impossible to stop every stroke and adjust the stroke by licking the pen. You can only write on the paper without stopping writing. Adjustment. This involves the issue of adjusting the front on paper, which is a relatively complex but basic technique that must be mastered.