First, the principle of harmony between subject and object.
In regular script, it is particularly important to establish the consciousness of the main pen. In a word, stippling must have primary and secondary points, just like the sun, the moon and the stars, each with its own sequence. The main strokes are not only instructive in structure, but also an important factor in the artistic style of regular script. If a work is mainly horizontal painting, it will form the characteristics of flat and horizontal knots, which looks quaint; If you use vertical painting as the main pen, it is easy to get vertical posture and look tall and straight; If you use the skimming as the main pen, your body will open and look steep. So from the structural point of view, Chu Jie is long, square or flat, which is natural; Judging from the use of pens, it is also varied, not the main reason. The secret is that the main pen is not abrupt, the auxiliary pen is not ethereal, the contrast relationship is realized in silence, and the guests and the host are at peace and complement each other. This superb skill of contrast and change is exactly where Chu Suiliang stands out.
Second, the principle of harmony without difference and violation without committing crimes
The core of this principle is to seek "harmony" from "difference", that is, change is a means and harmony is an end. Under this principle, calligraphers break the inherent "harmony" formed by "similarity" through comparison and change, and then establish a new order of "harmony" on the premise of "not offending". Obviously, this is a more advanced form of "harmony". As Sun Shu Pu said: "Several paintings are applied at the same time, with different shapes; All points are consistent and each takes what he needs. " As we know, the organizational structure of regular script of Chinese characters is composed of eight basic strokes represented by "Eight Methods of Permanent Characters", which are juxtaposed, crossed and combined organically. There are many repeated strokes in a word. For this kind of repetitive strokes, we should not only make their shapes "different" but "good", but also pay attention to the overall harmony and order.
Third, the principle of asymmetric balance.
The purpose of this principle is to break the symmetry of geometric meaning. The structure and composition are suitable. Structurally, some Chinese characters are inherently symmetrical, such as "Zhong", "Men" and "Lin". If there is no comparison, it is difficult to get out of the game. The commonly used methods of contrast change are: creating a contrast relationship between stroke shapes, such as length, thickness, straightness, density, completeness, welcome, etc.; In terms of pen gesture, we use the methods of hiding and revealing, rising and squatting, square and circle, returning and covering, slowing and disease, tightness and looseness, strength and weakness, returning and opposing, and internal extension to make comparative changes. Or distinguish the relationship between subject and object by radicals, so as to break the stable pattern brought by symmetrical structure and make it vivid.