Generally speaking, calligraphy is written with raw Xuan pen, which can have the charm of ink and wash. Familiar Xuan pen can be smudged repeatedly, and meticulous painting is more suitable.
There is no word "coarse" in traditional calligraphy, but it does exist in modern artistic characters and printed fonts.
The text penetrated the back of the paper.
Pronunciation l? t？ u zh？ b？ I
Definition Description Calligraphy is vigorous and powerful, and the brush strokes can almost penetrate the back of the paper. It also describes poetry as profound in conception and concise in words.
The source is Tang Yan Zhenqing's Notes on the Twelve Meanings of Zhang Changshi: "When using the front, I often want to make it pass through the back of the paper, which is very successful."
Write the example first. (Yi "Ou Bei Shi Hua" Volume 6) Force through the back of the paper
The "force" in calligraphy and painting is an abstract expression of pointillism, linearity and the author's inner spirit. Specifically, if you can stroke in the center, that is, when you stroke, the bristles are evenly scattered and the pen center walks in the strokes.
The force of the arm can be cut into the paper through the soft nib. If the bristles are twisted or twisted into a ball when writing, the bristles are not properly adjusted and spread evenly, and the bristles sweep across the paper like paint, it is called "force-penetrating paper back". Such strokes are "smeared", like ink pigs, and the brushwork is impossible. The strength of brush strokes has nothing to do with the thickness of lines, but the key lies in the author's ability to control the brush and write with the center.
From Chu Suiliang's Preface to the Big Wild Goose Pagoda, we can see that there are many tiny strokes, which are delicate and powerful. From Yan Zhenqing's "Yan Family Temple Monument", we can feel the dignity of the writing brush, which is like an iron hook and a silver painting. These are all examples that run through the back of the paper.
"Twenty products of Longmen" refers to the inscriptions of twenty statues selected from Longmen Grottoes in Wei, Jin, Southern and Northern Dynasties, and is the representative of Wei Bei's calligraphy. Weibei inherited Han Li and developed Tang Kai with the charm of Li Kai.
Among them, 19 are in Guyang Cave and 1 are in Cixiang Cave. The appellation of twenty products was first seen in Kang Youwei's Guang Yi and Zhou Shuang Tan and Fang Ruo's School Tablet Essays in Qing Dynasty. The content is generally to express the sculptor's blessing and eliminate disasters. . On the basis of Han Li and Kincaid, his calligraphy art developed and evolved, forming a unique style which is dignified, generous, rich and simple, with both official script style and regular script factors. It is the essence of northern Wei calligraphy art and the representative of Weibei style.
There are 20 pieces in Longmen: Bi Qiuhui as the dead father, Mrs. Qiu Mu Liangliang as the dead cow, Zhang Yuanzu's wife as the dead husband, Beihai Wang Yuan in detail, Sima Jie Boda, Yunyang Zheng Yuanbo as the dead man. A statue of a bhikkhu's loving father and mother, a statue of Princess Hou, the grandmother of King Guang Chuan, a statue of Helan Khan, the king of Guang Chuan, a statue of four casters and children, a statue of Princess Hou, the grandmother of Guang Chuan, a statue of his little grandson, a statue of a bhikkhu, where Emperor Xiaowen and his mother and son were born, and a statue of the North Sea Kingdom. The statue of Wei Ling, a Gongcao in Luhun County, the statue of Yuan Xie, the king of Anding County, who died for his deceased father, the statue of Yuan You, the king of Qi County, and the statue of Renzhi.