Regular script, as a calligraphy style that is highly normative, widely popular and highly accepted by the public, has evolved from concept to origin, from popularity to art, from pen usage to composition, and finally to artistic expression and writing. The highest realm of sex, spiritual writing, and life writing. What I bring to you below are regular script calligraphy works. I hope you like them.
Appreciation of regular script calligraphy works
Regular script calligraphy works pictures 1
Regular script calligraphy works pictures 2
Picture 3 of regular script calligraphy works
Picture 4 of regular script calligraphy works
Ten rules for writing good regular script
The first rule is to write with dignity, calmness and focus.
Wang Xizhi, a calligrapher of the Jin Dynasty, said: "The most important thing in writing is to be smooth and stable. The first thing is to use the pen skillfully. There are downward strokes and upward strokes. There are strokes that are tilted to one side, and there are also crooked strokes. There are also slanted strokes; from the whole article, there are small and large characters, some are taller (longer), and some are shorter (short).
Tang Dynasty. Calligraphy theorist Sun Guoting said: "When you first learn calligraphy, the distribution of strokes and composition of the font should be both safe and square. "
Xiang Mu, a calligrapher of the Ming Dynasty, said: "There are three things to pay attention to in calligraphy: when you first learn to write, you must pay attention to prevent unevenness and tilt. After you continue to learn the rules of writing, you must prevent strokes from being inconsistent with each other. Fonts are inflexible or sluggish. After you finally become proficient in it, you should avoid random and random scribbling, weird phenomena, and unruly tackiness.
The second rule is that the font image is comfortable and smooth up and down.
Wang Xizhi said: "The image and momentum of writing cannot be wide at the top and narrow at the bottom. If so, the weight and lightness will not match. The layout of the calligraphy and painting and the space between the words should be symmetrical from near to far, and the top and bottom should be appropriate. Naturally, it will
Ouyang Xun, a great calligrapher in the Tang Dynasty, said: "The structure of characters has two parts: upper and lower. Most of them are centered on the upper part and the lower part. It is as light as wearing a decoration on the head, such as: stack, police, sound and other words are representative. The book treatise "Ba Jue" says something like this: The human body is symmetrical in appearance, and the upper and lower proportions are coordinated. Not so light-headed and heavy-tailed, with a small head and a big tail.
Yan Zhenqing, a calligrapher of the Tang Dynasty, said: "If you want to write, you must first think about the image of the words in your mind, and arrange the strokes so that they are smooth and steady, or have unexpected postures. Only by giving them a unique sense of beauty can It’s clever calligraphy.”
The third rule is that the weight of the words should be balanced, and the left and right sides should be balanced.
Ouyang Xun said: "People who are beginning to learn to write must first have an idea of ??the general image of the characters and evaluate the horizontal and vertical arrangements. The space between strokes must be arranged evenly and neatly."
Chen Yi, a calligrapher of the Yuan Dynasty, once said: "The radicals of all characters must be narrow and long, so that there is room on the right side. The same is true for the ones on the right side. Observe their weight and make them consistent and equivalent. Good. That is to say, the size and weight are very balanced and beautiful.”
The fourth rule is to arrange the white space evenly to make the calligraphy and painting fresh.
Wang Xizhi said: "Allocate the distance between strokes, arrange the spaces between strokes, between words, and between lines, and the distance should be even."
Qing Dynasty Calligrapher Jiang He said: "There are three points in the layout of white space: first, the layout of white space within words, second, the layout of white space between words, and third, the white space between lines. When you start to learn the distribution of writing, you must stop at A uniform place. Knowing how to stop at a uniform place requires a slight change in the direction of flatness, distance and closeness; uneven placement in between."
Ouyang Xun said: "The characters are opposite to each other. , and some are carried on each other's backs. Each has its own posture, and there can be no mistakes."
The fifth rule is that the density should be consistent and the body should be thin and firm.
Ouyang Xun said: "The four sides are arranged evenly, and everything is required eight times.
The short and long should be in compliance with the law, and the thick and thin calligraphy and painting should be moderately balanced (the ratio of tall to short is appropriate). "
Wang Xizhi said, "It is necessary to distribute the stippling evenly, and the distance and the distance need each other." As methodical as planting seeds in plowing. Study its fineness, and then adjust the pen and ink so that the fine edges of the pen move back and forth on the paper, and the density is consistent. "
Xiang Mu, a calligrapher of the Ming Dynasty, said: "When people write, they rely on their ease of writing and the thousands of shapes, but it just means that their temperament is harmonious and harmonious. A little fatter, a little thinner. For example, when writing, the height should be consistent and the weight should be balanced. Both the exposed strokes and the hidden strokes are arranged appropriately. Strength or softness complement each other well, just like fortune-telling in the human world. Neither fat nor thin, neither tall nor short, is a dignified and beautiful human form!"
Qing Dynasty scholar Bao Shichen He also said: “The fonts on the ancient stele are very different in size, like a narrow path and a wide courtyard coexisting at the same time. Just like an old man carrying his young grandson with his hands, the height is different, but the affection is sincere and the heartache is caring. "
The sixth rule is that writing changes with different strokes.
Sun Guoting, a calligraphy theorist in the Tang Dynasty, said: "When many strokes are used at the same time, the shape of the strokes will change. Each has its own differences. Many dot paintings are placed together, and the postures conflict with each other. (For example, the shape of the four dots of water under the character steam is like this)"
The calligrapher Zhiguo of the Sui Dynasty said: "The repeated strokes should be closer together, like Lu, Chang, Yao, Zao ( Variant characters) The characters such as silk and feather should be narrower on the left and wider on the right. The words "sen", "lei" and "miao" should be arranged with the same principles.
Zhang Huaiguan, a calligraphy theorist of the Tang Dynasty, said: "Those who are lying on their backs and those who are lying on their backs are in the same direction or facing away from each other, that is, the two characters merge into one character. It must be required to draw the characters that are upside down and facing up. , there are signs of separation or merging. Just like the scales and feathers on the fish, they are connected and arranged in order, but they look uneven. "
Wang Xizhi said: "If two characters are combined into one, the repeated ones should not be too long, the single-shaped ones should not be too small, and the enclosed shapes should not be too large. Although the strokes are very dense, if they are arranged well, it will look It looks better than sparse strokes. Short and short characters are better than tall and long characters. If you are writing a piece of calligraphy, you need to have a different meaning in each word to avoid any signs of similarity.
The seventh rule is to use odd-shaped postures to show a square effect, and the inside and outside must be proportional. Zhao Hengguang, a calligraphy theorist in the Ming Dynasty, said: "If you want to write good calligraphy for forehead inscriptions (signatures), You must first think about a word, and then pick up the pen (pick up the pen) according to the needs of the text's program (genre). When the middle stroke is dropped, the overall layout is completed. When writing strokes on the left, consider the space on the right side, and when writing strokes on the right, pay attention to the layout of the left side. It's the same up and down. "
Dong Qichang, a calligrapher of the Ming Dynasty, said: "Writing needs to be surprisingly free and unrestrained, and fresh font scenery often emerges. Use novel techniques to achieve orthodox font expression, and do not advocate sticking to the old rules. "
The eighth rule is to capture the natural forms of pictograms and capture their spirit.
Mrs. Wei, a calligrapher of the Jin Dynasty, said when talking about calligraphy: "Stippling is like the top of a mountain peak. The falling rocks on the mountain looked as if they were about to collapse after hitting the rocks. The horizontal painting is like a long cloud in the sky, with a vague form. The vertical paintings are like dead vines that have been hanging down for thousands of years. Skimming the painting is like disconnecting the xx and leaving the rhinoceros. Na Hua is like a breaking wave, beating and running forward. The oblique hook painting () is like using a force of three hundred kilograms to draw a strong archery bow, such as a bow with spring force when it is about to fire an arrow. Gao Jue's paintings are like the turning points (tendons) of a powerful archery bow. Therefore, it is clever to write every word that resembles its shape. This kind of writing is the structure of calligraphy. "
Cai Yong, a writer and calligrapher in the late Eastern Han Dynasty, said: "As a calligraphy body and rhyme, each should resemble its own form. Like sitting. Like walking. Like flying. As in dynamic. Gone far away. Ru came back. Like lying there. Like standing up. A sad expression. As if happy. Like bugs eating the leaves. Such as long swords and sharp Ge-style weapons. Like a strong bow and hard arrows. Like soft water.
Like fire burning. Like clouds in the sky and fog on a cloudy day. Such as the sun and the moon. Only when there are pictographic gestures everywhere can it be called calligraphy!"
Zhang Huaiguan, a calligrapher of the Tang Dynasty, said: "Those who have a deep understanding of calligraphy only look at its brilliance and ignore and do not need to pay attention to the glyphs. . "
The ninth rule is that the font has a straight and dangerous style and is majestic.
Jiang Kui, a calligraphy theorist in the Southern Song Dynasty, said: "To create superb calligraphy (style) , First, the calligraphy author needs to have high moral character. The second is the need to learn the ancient excellent divine laws and regulations. Third, the paper and pen must be of good quality. Fourth, the font structure needs to be bold and powerful. Fifth, it is necessary to have certain knowledge of calligraphy art. Sixth, the ink color must be of appropriate shade and the written words must be moist. Seventh, it is necessary to arrange the opposite or opposite strokes appropriately. Eighth, new ideas often appear in the structure and organization of characters. In this way, a person with a naturally tall character will have a beautiful and well-organized appearance. Short characters seem to be shrewd and brave people. The word "thin" is like the skinny appearance of a waterlogged place in a ravine (barren). The word "fat" means a rich and happy person. The word "vigor" looks like a person practicing martial arts. Words with charming looks are like beautiful women. The crooked characters look like a drunken immortal. The characters that are dignified and beautiful seem to be people with good etiquette.
For example, Zhu Changwen, a calligraphy theorist in the Northern Song Dynasty, commented on the inscription style of the "Jiucheng Palace Liquan Inscription" written by Ouyang Xun: "The middle style between thin and thick is strong and powerful." rather than surrender. Just like a just official enforcing the law, he corrects his shortcomings face to face (face-off), and dares to argue with reason in front of the court and directly remonstrate what is wrong and what is right. As for its neat and beautiful stipples and precise artistic conception, there is nothing to add or subtract!"
The tenth rule is that the calligraphy style should be unified and the composition should be spectacular.
Qing Dynasty Scholar Zhang Shen said: "People in ancient times wrote like compositions, with (calligraphy) the style of the characters and (composition) the calligraphic structure of the combination of all the characters. There is a method of forming the whole text. The structure of the entire text must be consistent from beginning to end. "
Sun Guoting, a calligrapher of the Tang Dynasty, said: "The stippling of a character determines the rules of a character. The writing of one word determines the basic tone of the entire calligraphy. "
Contemporary litterateur (playwright) Mr. Ma Shaobo said: "Calligraphy must not only have beautiful strokes, but also have noble ideological content in the work. "
Calligraphy theory scholar Hua Yun said: "The composition of calligraphy is like the formation of troops in war. The formation is rigorous and has the potential to move vigorously and resolutely. There is a collective mentality that the troops will win if they send troops. According to the theory of calligraphy, it means that the whole text has a unified charm! The overall structure is like a law, and the beauty of calligraphy stipples is like the legal provisions that govern the country. Every word is powerful and every sentence is reasonable. Hidden dignity and role model, people have awe-inspiring demeanor. So there is a saying of regular script model. The combination of its calligraphic connotation and glyphs and its charm are like sweet music, plucking the heartstrings of those who appreciate it. It has a profound foundation and a moving appeal. The strength of the strokes throughout the text is like the kung fu of a martial artist, with profound and solid skills. And her soft beauty, just like Tai Chi, hides the inner strength of essence and Qi, soft on the outside and strong on the inside. The most important thing is that the squareness of the regular script reveals light and is free of flaws, just like a hero shouldering justice, with a lofty mind and a spirit that will never fail! His works are fresh, like the majestic mountain peaks in spring, with the first green scenery and wonderful Spectacular! The sky is vast and boundless, and there are strange and beautiful things that make people appreciate and be inspired. This is the world of art with dignity and role models!"