However, this mortise and tenon technology is not only used in architecture. In the long history of 5,000 years in China, an outstanding scholar, Ou Yangxun, integrated this tenon-mortise technique into the calligraphy art of regular script, and the interspersed technique is one of the inherent structural formal beauty of regular script writing. The characters' up and down, left and right, and the alternation of strokes bring different aesthetic feelings to the characters. The combination of humility and interspersed beauty is both dignified and intimate. With the penetration between the lines, the whole word gives people a kind of interlocking, close combination, tightening in the middle, letting go and chic beauty.
Ou Yangxun, a native of Sui and Tang Dynasties, was one of the eight famous calligraphers in Tang and Song Dynasties. His poems, songs and calligraphy art are well known to everyone and are examples for everyone to follow and learn. When he was young, he was smart and knowledgeable, specializing in calligraphy.
His calligraphy draws charm from the strokes of seal script, from the inscriptions of Sui Dynasty, and integrates hundreds of kinds of calligraphy to form a self-contained round and smooth square with steep structure and powerful brushwork. He led a new stage of calligraphy. His calligraphy is regular script with unique font structure and bold brushwork. Later generations like to call it "European style".
His regular script, whether written with a pen or a structure, has its own unique program, which is very convenient for beginners. Ouyang's 36-knot Method, which was circulated by later generations, is a learning rule of knot characters specially summarized for his regular script. Moreover, he is very persistent in calligraphy research and has his own unique views.
According to legend, Ou Yangxun once went out to study and saw the Cao Zhang stone tablet of Suo Jing, a calligrapher in the Western Jin Dynasty. At first glance, it seemed very ordinary. However, he thought that since it was a masterpiece, it would definitely not be such an ordinary existence. He stood in front of the stone tablet, carefully observed and repeatedly checked, and found the essence and profundity of the handwriting.
Ou Yangxun groped for three days and three nights in front of the stone tablet. Finally, in the field, he reached the place where Suo Jing's spiritual spinal cord was located, and went up a storey still higher, allowing him to create calligraphy. He is not only a calligrapher but also a calligraphy theorist. In the process of studying and studying calligraphy for a long time, he summed up a series of experience in learning calligraphy, such as thirty-six methods, writing theory, teaching strategy and eight decisions.
Zhong Ni Meng Dian Tie is excellent in content, emotion and example, and its brushwork is based on Preface to Lanting Collection.
Montitie in Zhong Ni is a running script with nine lines and nine characters, and it is the most credible and wonderful one in Mo Bao handed down by Ou Yangxun. Between the lines, he shows Ou Yangxun's self-confidence, aesthetic interest and emotional appeal, and Ou Yangxun's freedom and conceit to incorporate new forms and brushwork into his calligraphy works are everywhere.
This post uses light but not thick ink, flip it at will and scribble. There is nothing wrong with the pen, and there is no place where the pen stagnates. The thread between the upper and lower lines is clear and the structure is steady and steady. Where the pen moves, it is calm, smooth and verve, rigorous statutes, square fonts, rounded strokes, charming and magnificent. Ou Yangxun, so to speak.
Although Ou Yangxun is famous for regular script, it doesn't mean that Ou Yangxun only writes regular script. This "Montitie in Zhong Ni" is a complete running script and an exquisite running script of Ou Yangxun. According to the deeds of some ancient literati, the content of Montitie in Zhong Ni tells Ou Yangxun's feelings about his life. He thinks that life is life and death, things are impermanent, and right and wrong will eventually be rewarded, and Zhong Ni in the topic will also gain something.
From the content, Zhong Ni Montitie is fluent in literary style and clear in examples. Although the whole article is sad, it is awe-inspiring and has an excellent example. From the lexical point of view, Montitie in Zhong Ni is indeed a place worthy of reference in Preface to Lanting Collection.
The whole copybook uses four words "no", three words "you" and two words "xing", all of which are similar to Huan Tie's modeling. In addition to Wang Xizhi's Preface to the Lanting Pavilion, Zhong Nitie's brushwork is also very distinctive, and the word "Peng" on the copybook changes from left to right. The overall structure of the word "cooked" has changed, and the structural arrangement of the words "Peng", "Guide", "Ghost" and "cooked" here makes the layout of the whole copybook more compact.
Because the radicals are shifted and the proportion of characters is reversed, it is more natural and conscious for Mi Fei to adjust the structure of font brushwork and the composition of the whole text in this way.
Judging from the way of using a pen, there are obvious regular script marks on this copybook, and the words "Zhong" and "Dream" on the copybook are the same as real books. When his works were written in Mi Fei, everyone commented that "Zhuang Ruoshuai is as handsome as jumping and throwing", that is to say, his calligraphy is as solemn and quiet as the Buddha of Sakyamuni when it is static, but it is so jumping when it is dynamic, and the details are erratic. However, it can be freely put away and rotated at will. The whole running script has a square structure and smooth brushwork. The ink used is light and full of texture, and there is no oily feeling at all.
From the perspective of composition, Zhong Ni Montitie has traces of composition, and it relies more on the shape of a word to adjust the composition.
The word "Ni" and "Poison" in the copybook is a typical glyph change, which changes the structure of square characters into a long structure. The towering shapes of the words "age", "grace", "newspaper" and "should" in the copybook play a vital role in adjusting the word "xing", and the lines echo each other and combine lines.
In general, the combination of lines and calligraphy is suitable for fairness. If it exceeds our common fair standards, it is biased. Just like this, Ou Yangxun consciously put some lines askew and some lines straight, which made the contrast between the lines sharp and each had a set of interests, thus achieving the artistic effect of saving the day in the overall effect of the whole copybook.
This is the beauty of Ou Yangxun font. Miffy's research on European style focuses on the "danger" between the lines of Ou Yangxun's calligraphy. Throughout the copybook, the font lines are dry but fine and tough, tall and experienced, and the turning point is full of angular features. Ou Yangxun's calligraphy learned from Wang Xianzhi's vigorous and elegant posture.
The whole "Zhong Ni Monti Tie" not only has the characteristics of the Sui Dynasty stele, but also has the vivid charm of the calligraphy creation of the two kings. The lines between the lines are rigorous, the composition is naturally patchy, convergence and indulgence complement each other, and the fun of using a pen to transport ink is vivid on paper, and not everyone can play it incisively and vividly. This copybook is more authentic than Ou Yangxun's rubbings.
"Montitie of Zhong Ni" inherited the two kings and Mi Fei and other famous literati. This simple word "dream" is the fundamental embodiment of our lofty integrity in showing the spirit of China's calligraphy circle, and also lays the foundation of the traditional ideological system of "calligraphy is the only way". The world not only learned the skills and methods of calligraphy writing, appreciated Ou Yangxun's elegant calligraphy style, but also learned more about Ou Yangxun's calligraphy products and skills, as well as the internal relationship between people and calligraphy. Ou Yangxun's calligraphy is steady and neat, suitable for practice. Calligraphy theory, combined with him, is a treasure in calligraphy. His "Zhong Ni Meng Dian Tie" is not a rubbings, but an original manuscript, which has been circulated for thousands of years.
Ou Yangxun's calligraphy stippling is magnificent, such as falling rocks from the sky; The horizontal grid is like a crescent moon with clear lines; As a cloud thousands of miles away, it gives people a magnificent sense of beauty, as firm as a vine that has withered for thousands of years; The brushwork is neat and there is no posture at all.
In addition, "Zhong Ni Monty Tie" is a historical post. According to his writing mode, "Zhong Ni Montitie" is a work in his later years, European calligraphy and elegant garden. This masterpiece is a concrete portrayal. Although this copybook has gone through thousands of years, its charm still exists.