? Nothing is absolute. It should be said that "standard cursive script" has certain positive effects, but its value in the history of calligraphy cannot be overstated. Li Zhimin, a senior professor at Peking University and the founder of introducing monuments to cursive script, praised Yu Youren's "powerful and profound" cursive script and considered Mr. Yu a contemporary giant. He personally wrote the preface to the "Standard Cursive Script Guide", affirming Mr. Yu's contribution and The positive value of standard cursive writing is not entirely in favor of standardizing and stylizing cursive writing. Mr. Li believes that the art of calligraphy, especially cursive script, has its own development rules. It should reflect the calligrapher’s education and temperament. It should be colorful and colorful, and there is no need to insist on uniformity. When reading ancient and modern works, "the most taboo thing is to favor one thing and exclude all others." ".
??This argument is undoubtedly objective and fair. What needs to be understood is that for beginners, starting with standard cursive is a good choice for getting started. But after you have a certain foundation in cursive writing, you can't just limit yourself to the category of "standard cursive writing", otherwise it will be a one-shot view. In the eyes of some cursive learners, there are still many misunderstandings, and some clarification is necessary.
?The first is to regard "standard cursive writing" as the only standard for "cursive writing" and believe that as long as cursive writing deviates from "standard cursive writing" it is inconsistent with "cursive writing" and has gone astray. This is obviously ignorance of the thousand-year development history of cursive writing. You must know that the "method" of cursive writing is essentially the law of writing, rather than the solidification and patterning of character shapes.
The law of cursive script has lasted for thousands of years, and is broad and profound. There are changes in the law, and there are reasons in the changes. It is by no means a "standard cursive script" or a "cursive script dictionary" that can be used by "people who know grass", let alone A quick glance tells you a rough idea. From Zhang Zhi and the "Two Kings", to Zhang Xu and Huai Su, and later to Huang Tingjian, Zhu Zhishan, Wang Duo, Fu Shan and others.
? When creating excellent works of cursive script, we follow the rules of cursive writing, which is "taking shape according to the situation" rather than "taking the situation according to the situation". We must first have a fixed "font", otherwise , it loses the distinctive feature that cursive script can best reflect the calligrapher’s mind. The second is to use the "standard cursive writing" in the small grass category to measure the wild cursive writing in the large grass category. Yu Youren's standard cursive script is mainly based on Fa Huaisu's "Thousand-Character Essay on Xiaocao" and incorporates the connotation of Zhangcao. It is not "introducing stele into cursive", nor does it enter the field of wild cursive. If we use this method as a yardstick to judge Kuang Cao's works, we have to say that it is superficial judgment.
?Different from Yu Youren’s exploration of cursive script, Mr. Li Zhimin, also a great calligrapher in the 20th century, chose cursive script as his main direction of attack, and took the lead in proposing the proposition of “introducing the stele into cursive script”, converting the Beibei stele into cursive script. The strong square pen and the open round pen are completely embedded in the wild grass. In particular, his "continuous dry brush" technique is unique and fills a gap in the history of cursive writing in the 20th century. Compared with "standard cursive script", his method is obviously much more ancient and extensive, which creates a crazy cursive script style that blends ancient meaning with simplicity, and also naturally makes it "difficult to read". , not "popular", some people even suggested finding a single word from one of his works, thinking that as long as they don't recognize it, it doesn't comply with the "draft method".
In fact, even if you randomly pick out some words from the famous Kuang Cao calligraphy such as "Four Ancient Poems" and "Zi Xu Tie", it is difficult to read them. Those who hold this view just do not understand cursive script, especially "Kang Cao" It is the embodiment of the essential requirement of "taking shape according to the situation". Therefore, even a senior calligrapher like Zhao Puchu had to say with emotion: "I saw Li Zhimin's calligraphy first and then his person. When I first saw his cursive script, I found it difficult to read and a little jerky." But I put it aside, and when I came back to look at it by chance, I admired the liveliness and vigor of the dot paintings, so I looked at them carefully and felt that they were divine!" What's more, although cursive script, especially Kuang cursive script, has a practical side, it is different from regular script and running script. Compared with other calligraphy styles such as Chinese calligraphy and official script, it pays more attention to "artistic quality" and should reflect the calligrapher's temperament. The reason why cursive calligraphers in history were able to form different styles of cursive calligraphy is the manifestation of "artistic".