Chapter II Internal Structure
The internal structure of calligraphy is to study the basic laws of calligraphy. After mastering the basic skills of calligraphy, I mainly study calligraphy.
The internal changes of calligraphy fully reveal the laws of calligraphy from the outside to the inside. In other words, "Beginners' Honesty" lays a solid foundation by learning superficial things first, and then learns what is inside, step by step. The beauty of a word is not only the symmetry of appearance, but also the internal contrast and change to achieve perfection. This is what people often say "unity of form and spirit".
In life, we often hear that XX people have temperament, self-cultivation and connotation, which is formed by inner self-cultivation and the crystallization of culture, knowledge and technology, so they are elegant. It is often said that "seeing the essence through the surface" is also about internal changes.
The internal changes of calligraphy are endless. Looking at the famous posts and styles of past dynasties, it shows the greatness and intelligence of calligraphers, which is full of "personality" in today's words. For these changes and differences, it is not difficult to find that there are also * * * characteristics, with the same change law. It is these characteristics and changes that have created a great calligraphy culture. It also urges us to study the laws of these comparative changes and better grasp the connotation of calligraphy. These laws are contrast, big and small, wide and narrow, tight and loose, from which we can see that "internal structure" is contrast, contrast and difference. Further study its "comparison" method package: absolute comparison, relative comparison and comprehensive comparison, which we will introduce respectively below.
I. Absolute contrast
"Absolute contrast". What is absolute contrast? Is contrast and difference. It is the change of day and night, the contrast between black and white, cold and heat; In calligraphy, "absolute contrast" is expressed in a tight and wide way. For example, a word can be tight at the top and wide at the bottom, showing the state of pine and spruce; On the contrary, it is wide at the top and tight at the bottom, showing a state of one big and one small. In calligraphy, "absolute contrast" is expressed as characters with upper and lower structures, which exist in independent forms. Clearly see the contrast between acceptance and release, and show the internal changing law of "equal beauty" and "balanced beauty". For example, the word "qi" is narrow on the top and wide on the bottom; Tighten the upper and lower parts. The word "knot" is wide at the top and narrow at the bottom; Tighten up and loosen up. Internal average and distribution operators of taboo words.
Two. Percent contrast
"Relative contrast" varies according to severity, distance, size and height, for example, light lifting; Far from being narrow,
Zoom in when you are close; Wide is burly, narrow is slim. The "relative contrast" in calligraphy is obviously manifested in the left and right structure and exists in the form of combination. The outstanding internal manifestations are "beauty" and "harmonious beauty". For example, the word "Ming" is small on the left, and small is far; In the world, the world is high and the world is light; The right side is big, and the big one is near; Bottom, low bottom, heavy top. As small as a branch, as big as a child, as big as a pole, as big as a father, all show a connection, an inseparable affection.
Three. Comprehensive comparison
"Comprehensive contrast" is a combination of "absolute contrast" and "relative contrast". That is, there are both "absolute contrast" and "relative contrast" in a word. For example, the word "trade" has "relative contrast" above it and "absolute contrast" below; The word "crystal" has "absolute contrast" above it and "relative contrast" below.
Contrast is the soul of calligraphy and the place where calligraphers express their thoughts and feelings and artistic thoughts. Therefore, in the process of learning calligraphy, we should recognize the characteristics and methods of calligraphy performance. Only by understanding the thoughts of calligraphers can we quickly grasp the inherent laws of calligraphy and lay a solid foundation for future calligraphy creation. The following is a comparison diagram of the external structure.
exterior structure
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contrast
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Absolute comparison, comprehensive comparison and relative comparison