Concerning the rules of calligraphy modeling, we understand it from a macro level, that is, breaking the modeling rules of ordinary Chinese characters, being different from the usual visual stereotypes and pursuing the calligrapher's unique artistic perception and personalized artistic expression. This is It goes beyond the modeling principles of traditional realism. Generally speaking, realism is a natural intuitive method, emphasizing intuitive reality in modeling and paying attention to people's true feelings. There is an artistic view that Chinese character writing attaches great importance to the frame structure, and the position of one point and one stroke has fixed people's vision. Therefore, once the structure changes, it will cause changes in the authenticity of Chinese character writing. The author thinks this is a one-sided view. Compared with the commonly used Chinese characters today, the structure of oracle bone inscriptions and seal scripts has undergone amazing changes, but it has not changed the authenticity of Chinese character writing. The changes in visual authenticity caused by the deformation of the font structure did not bring about changes in the authenticity of the shelf structure and radicals. Therefore, it can be affirmed that the modeling rules aimed at conveying the artistic style of calligraphy follow the principles of artistic aesthetics and are consistent with the characteristics of Chinese characters. The rules of word formation are not the same.
01. The law of big and small
The relationship between big and small between characters in the work is complicated and uncertain factors can be seen everywhere. Big, how big, small, how small; characters with more strokes should be smaller, characters with fewer strokes should be larger; where to use big characters, where to use small characters in the whole work, etc., all need to be adaptable. Be flexible. Grasping the laws of size and handling the relationship between sizes to achieve an artistic effect that is both large and small plays an extremely important role in the artistic beauty of the entire work. What is unique in cursive script is the use of connected strokes, which can form a group of three or five characters into a group, thereby extending the general concept and enriching the general content.
02. The law of long and short
"Long and short", in addition to the length of the font, also includes the exaggeration or reduction of the length of the lines within the font, which breaks the inherent uniformity , and changes occurred. Calligraphy modeling must break the traditional modeling rules. Only by breaking the balance can it have flavor. Only by creating and resolving contradictions can the true meaning of art be achieved. If foreigners and Chinese learn calligraphy at the same time, foreigners will have a better understanding of calligraphy shapes than Chinese people, because Chinese people have inertia about the shape of Chinese characters, and their accustomed plastic thinking will restrict their grasp of calligraphy shapes, while for foreigners It is said that everything starts from scratch, and the shapes of all Chinese characters are just the combination and division of lines, which are all creation and innovation.
03. The law of looseness and tightness
As the old saying goes: "Those who are sparse can run a horse, but those who are tight are airtight." In the entire work, the changes in tightness and density are very important. The density of cursive script has been a new topic since the Ming Dynasty. The ancients reduced the number of strokes in cursive script, while the Ming Dynasty people exaggerated the format of cursive script. The traditional experience of dividing black and white was strongly challenged. Especially since the reform and opening up, the area of ??works has increased beyond the historical peak. In this case, on the one hand, it is necessary to solve the disadvantages of endless entanglement left by the Ming and Qing Dynasties. On the other hand, we must also seek new modeling methods to make the sparse and dense, and the dense and dense. This is a better solution. method.
04. The law of width and narrowness
The width and narrowness between characters are reflected in the unevenness between lines. The upper character is wider and the next character is narrower, but absolutely It is not the equal alternation of wide and narrow, wide and narrow, but the rhythm of wide and narrow, wide and narrow, narrow and narrow, which is similar to the Qiang, Qiang, Qiang Qiang in Yangko dance. This is especially obvious when appreciating the first line of the work. The width of the blank space on the right side of the first line is not uniform, but must produce certain irregular width changes. This is the effect pursued by the width law.
05. The law of positive and oblique patterns
This is the relationship between words and groups. When writing, you should change your posture upright and obliquely, and your attitude should be relaxed. This law was not obvious in the Wei and Jin Dynasties, but became very obvious in the Ming Dynasty. The calligraphy of the Ming Dynasty is famous for its romance. For example, Zhu Yunming's "Back and forth Chibi Fu" swings greatly from left to right, and the vertical axis of the "moon" is never straightened. However, this does not make people feel unstable, because art is a whole, as long as the center is The axis has not changed. If you look left and right and respond back and forth, you will be properly coordinated.
In this regard, calligraphy draws on the insights of sister arts, such as the rich dance postures of actors sometimes moving forward and sometimes retreating in dance, which are extremely expressive. This is art and has shocking power.
06. The law of dryness and moistness
This is the law of ink modeling between pieces and words. When creating, you must have a sense of "grouping", such as three Words, two words, one word or even half a word are arranged into groups. Due to the ink-colored shapes of each group, a sheet-like shape appears in the work. This combination method is relatively common in Wang Duo's calligraphy. Grouping can reduce the difficulty of planning the entire calligraphy, and a new creative atmosphere can also emerge through grouping. When words and words, groups and groups, and pieces form rich changes, the viewer will have unlimited reveries.
07. The rules of breaking and connecting
The breaking and connecting in cursive script can, on the one hand, fulfill the strict requirements of the brushwork in the breaking and connecting, such as connecting the upper strokes to the horizontal strokes. Starting the pen, due to the continuous strokes, the process of using the pen to hide the front or return to the front is completed. On the other hand, through the interruption and connection of lines, or the interruption and connection between words, wonderful line shapes, word shapes, line shapes or article shapes are completed.
08. The law of square and circle
The shape of square and circle includes the square and circle of characters, or the square and circle of character, and there are also certain local contrast changes of square and circle. The basis of calligraphy is philosophy, which is the unity of opposites. Squares and circles are used in varying ways to achieve a better artistic state. Of course, you can also pursue the effect of squares or circles throughout the text. This is not absolute. It is mainly used here. A method or approach to highlight the beauty of calligraphy modeling.
09. The law of thickness and thickness
The thickness and shape of lines or words are closely related to the vividness of the work. If the law of thickness is followed well, the work can form waves and undulations. It makes the whole picture stand out.
10. The law of thick and light
Thickness and dryness both belong to the law of ink modeling, but they are different in degree. The contrast between shades and lightness is very important in the direction in which it appears. Thicker than dry, the state will appear. In addition, the concentration is also very particular. You must not let the ink become a pig.
11. The rules of radical shifting
Radical shifting means changing the inherent position when necessary to give full play to the role of styling changes. For example, the character "松" has a left-right structure and can be written in an up-down structure when creating. This is very commonly used in creation. The upper and lower structure becomes the left and right structure, the left and right structure becomes the upper and lower structure, the upper, middle and lower structure becomes the left and upper structure, etc. There are many examples of this in ancient classics. The last law is the law of grouping and slicing, which has been discussed separately above and will not be repeated here.