Appreciation of various calligraphy fonts of dream characters;
Mencius' calligraphy font is 1.
Dream calligraphy font 2
The calligraphy font of Meng Zi 3
The calligraphy font of Meng Zi 4
The calligraphy font of Meng Zi 5
The expression of calligraphy works;
Black and white in calligraphy works are not simple colors, but subtly improve the quality of the works, increase the appeal of the works, and form a wonderful work of art with other elements of the works, which makes people feel the profoundness of calligraphy in the black and white world. The black color of ink creates high-quality lines of calligraphy works, the shade of ink shows the rhythm of calligraphy works, and the collocation of black and white affects the interest of calligraphy works. Lin Sanzhi's running script works are in one go, with strong lines, lively rhythm and rich flavor, without any affectation. Is it really mentioned in Cai Yong's Nine Potentials? My husband's book originated from nature? . Therefore, the subtle traces left on the paper and the clever white cloth endowed by the white rice paper are important factors to form the spiritual interest of the black and white world. Without the clever correspondence of black and white, without the artistic expression of truth and falsehood, there would be no calligraphy art. It can be said that it is the distribution of black and white that forms the unique spatial beauty of China's calligraphy. Then the ethereal, turbulent and rhythmic calligraphy derived from pen and ink lies in the treatment and expression of black and white. Without black and white, this rich spatial formal beauty will also be lost.
Bao, a scholar and calligrapher in Qing Dynasty, said in "Art Boat Two Boat":? Calligraphy and painting are based on pen and ink, so calligraphy is a key to calligraphy. In fact, the pen is dark and the pen is floating. The color of ink seems to come from paper, and the colors are purple and blue, which is not enough. It must be black and flat on the paper, so look carefully. ? The shades of pen and ink show different charms of works of art, and each calligrapher's habits and forms of expression are different. However, whether it is light or dark, as long as it is used properly and shows well-known masterpieces, the key is to master and use the depth of pen and ink. In Qing Dynasty, there were comments on the Prime Minister of Thick Ink (Liu Yong) and the Prime Minister of Light Ink (Wang Wenzhi). Liu Yong, a famous minister in Qing Dynasty, created a graceful and quiet aesthetic feeling with strong ink and colorful writing style, which was called by later generations? Prime minister thick ink? . Contrary to thick ink, Wang Wenzhi, who is good at using light ink, is called? Looking for flowers in light ink? . Wang Wenzhi is regarded as the reappearance of Dong Qichang's calligraphy style, and Wang Wenzhi highly praised Dong Qichang. He wrote in On Poetry:? Dong Huating, a calligrapher's masterpiece, is full of soul. Besides being dull, why should we talk about Zhang Hang at the same time? ? Give Dong Qichang a very high evaluation. Wang Wenzhi likes to write in light ink. He uses it well and his ideas are clear. Looking at the vertical axis of his running script, the whole work is elegant, elegant and smart, with neat brushwork, talent and comeliness everywhere in his pen and ink. Mr. Lin Sanzhi, a modern calligrapher, has a profound understanding of ink color, and he is also very particular about using ink. He once said: Ink can be divided into Jiao Mo, thick ink, light ink, thirsty ink, accumulated ink, Su Mo and broken ink, and it changes endlessly with waterlogging, wet and dry depth. Luck and beauty of use are single-minded. ?