Running script writing should be relaxed, lively and quick, and master the combination of illness and delay, movement and quietness. Ink color arrangement should be thick at the beginning and dry at the end. The lines are long, thin, short and thick, with appropriate weight and alternating shades. It's similar to cursive, but it's not so grassy. Therefore, running script is also a calligraphy font that many calligraphers like. So what amazing works will be created by combining this calligraphy font with our ancient poems? The following are the calligraphy works of ancient poems and running scripts that I compiled for you, I hope they are useful to you!
Appreciation of calligraphy works of ancient poetry and running script
Picture of calligraphy works of ancient poetry and running script 1
Picture of calligraphy works of ancient poetry and running script 2
Picture of calligraphy works of ancient poetry and running script 4
Five schools of running script 1. The two kings in the history of calligraphy refer to Wang Xizhi (37-365) and Wang Xianzhi (344-386) in the Eastern Jin Dynasty. Jin Dynasty is an important period in the history of China's calligraphy, among which Wang Xizhi and Wang Xianzhi and his son are the most outstanding representatives of Jin Dynasty. In particular, the school of running script they created is the source of running script in China. Wang Xizhi's running script is partial to running script, while Wang Xianzhi's running script is partial to running script. Wang Xizhi's calligraphy was written with a pen, and he won with his strength. Wang Xianzhi's running script is extended with a pen, and wins with strength and strength. Wang Xizhi's running script can be roughly divided into three categories. The first category is the calligraphy of the ruler letters, such as "Ink of Wang Xizhi's Biography", which is the largest category in Wang Xizhi's running script works.
It is an important way to use the pen to learn how to write running script. You can't express a pen without turning it? Can they be separated, separated, closed and stuck? The unique artistic effect of the running script. It is clear that the pen is clearly explained; Sticky is about the connection between the pen and the pulse. A good turning pen, when turning, must be dark without showing traces, and its correlation is like a silver coil. Third, pay attention to the use of his front. Where is the front? The front is at the end of the nib. The pen tip should always be sharp and not broken, the pen body should always stand upright and not bend, the pen tip should always be neat and not twisted, and the pen tip should always gather and not loosen. Once again, in the early stage of posting, we should focus on the big picture and start with small things. What should we focus on? Like? Work hard. However, in the later stage of copywriting, it is most taboo to be a slave to copybooks. Some people always stick to the shape of the tablet, only know that it is futile to draw a gourd and make a copy. Do you have to? Take the spirit from the appearance? We should focus on getting the meaning of the pen.
2. The significance of Yan Zhenqing's running script "Sacrifice to the Nephew". Yan Zhenqing (79-785) is a famous calligrapher in the history of China. Two kings? Another artistic monument in the future. The Draft of Sacrificing Nephew is a draft of Yan Zhenqing's memorial to Ji Ming, his deceased nephew. The text of the work was written in memory of Yan Gaoqing, his elder brother, and Yan Jiming, his nephew, who died in the Anshi Rebellion. Especially when Yan Jiming died, Yan Zhenqing felt deeply for his flesh and blood relatives, and he did not stick to the law, and eventually became a swan song. Yan Zhenqing's calligraphy boldly absorbed the characteristics of seal script lines, and founded a new school on the basis of two kings' calligraphy. As soon as he changed the ancient method, his words became a pattern, which had a great influence on later generations. Wang Xizhi's calligraphy is slim and charming, while Yan Zhenqing's calligraphy is plump and strong. Wang Xizhi used finger power, while Yan Zhenqing used wrist power. Wang Xizhi's ink is warm and moist, while Yan Zhenqing's ink is pale and astringent. Wang Xizhi's pen is exquisite, and Yan Zhenqing's pen is handy. Wang Xizhi's composition is perfect, while Yan Zhenqing's composition is shocking. Yan Zhenqing's calligraphy is good at using emotion to dominate pen and ink. His emotion is intense, his verve is lofty, his brushwork is heavy, his momentum is magnificent, he is magnificent and magnificent. The whole structure of "Sacrificing a Nephew" is broad, fair and upright, open and close, free and easy, generous and wild. Throughout the whole article, no matter the pen, the structure and the composition, they are all extremely varied and naturally harmonious and seamless.
3. The significance of Song people's valuing calligraphy. Throughout the history of China's calligraphy, it can be roughly divided into two stages, and the boundary between these two stages was in the Tang Dynasty. People usually think that before the Tang Dynasty, it was the exploration stage of calligraphy, and after the Tang Dynasty, it was the mature stage of calligraphy development. It was after the appearance of Shang Yi calligraphy in the Song Dynasty that the calligraphy art could be closer to humanity. Yang Ningshi, a calligrapher of the Five Dynasties, was the pioneer of the Song Dynasty who valued calligraphy. Yang Ningshi (873-954) didn't have many works handed down from ancient times, among which Jiu Hua Tie and Lu Hong Caotang's Ten Notes and Postscripts are his representative works. "Jiuhua Tie" is neat and tidy, beautiful and elegant, and the style of the two kings is complete, and the Wei and Jin Dynasties are full of charm. His classic book style, which is good at moving and painting, bold and white, like oblique, relaxed, sparse and distant, and free and easy, has greatly inspired future generations. On the other hand, Lu Hong Caotang's Ten Records Picture Postscript is contrary to Jiuhua Tie's introverted charm and the scene is extremely lush. In addition, "Summer Hot Post" and "Immortal Living Post" are impressive for their style, style and aesthetic span. Yang Ningshi was an over-calligrapher in the Tang and Song Dynasties, and he inherited the Tang and Qi Dynasties, which laid the foundation for future generations to open up the style of valuing calligraphy.
in the song dynasty, there was another one called? China's calligraphy? A master, his name is Mi Fei (151-117). Among many calligraphers in the past dynasties, Mi Fei's running script had the greatest influence on future generations. About Mi Fei's way of learning books, he has a self-report:? The principle of admission is to write the wall first, and you will hang your hand when you write a book. If you reach the wall for a long time, you will enjoy yourself. When I first learned Yan, I longed for a tight knot when I saw Liu, but I learned Liu's Diamond Sutra. For a long time, knowing from Europe is learning from Europe. For a long time, such as printing and calculating, it is the longest time to learn from Chu. I also long for the season to turn fat and beautiful, and all sides are complete. For a long time, Duan Jue fully exhibited Lanting, and then he shared his views. It was also true that he abandoned Zhong in the Jin and Wei Dynasties and studied Shi Yiguan's Liu Kuanbei. Seal characters love Curse Chu and Shi Guwen. I also realized that bamboo slips are exquisite and ancient with bamboo paint. Shen Chuanshi is the main wall of his book. ? Judging from this self-report, he took a road from the simple to the deep, learning from others' strengths, choosing good and following, learning from the past, mastering everything, and becoming a family. Su Shi praised his running script as:? The horse is calm and happy, and it should go hand in hand with Zhong and Wang. ? Fan Chengda praised his running script as follows: with a big order, it was a bit ups and downs, and it fell into a slump. ? The two kings of Mi Fei had profound kung fu, especially Xiao Wang, who was later called him? Naivety transcends Wang Xianzhi. ? It was handed down as Wang Xianzhi's Mid-Autumn Festival Post, and some people suspected that it was Mi Fei's copy. Mi Fei's calligraphy, with a pen, is often calm and flying, with a dignified and casual pen, dripping with ink and glowing. Mi Fei claimed to be? There is only one good writer, and I have four unique faces? Later generations called him? Eight sides out? . His pen is heavy and slightly light in the middle, and he often turns his pen sideways at the turning point. In the use of hook pen, there is one more action than others. The knot of the Chinese character "Mi" is often shaped at will, combined with justice, and colorful. In terms of composition, the arrangement of word groups is often very strong, such as size, thickness, Fiona Fang, opening and closing, density, reality, integrity, length, etc., all of which are surprisingly unexpected. Virtual front into the word, winning by potential; Strong and charming, fluent; Lighten the pen and make the front elegant; It is worth paying attention to those who are interested in learning rice books, such as using virtual pen skillfully. His masterpieces include Shu Su Tie and Tiaoxi Tie.
4. Zhao Mengfu and Dong Qichang. Learn running script. Two kings? Undoubtedly, it is a positive pulse. Those who deviate from this main line and take shortcuts by cleverness are prone to frivolous and superficial ignorance. Zhao Mengfu and Dong Qichang, right? Two kings? The outstanding representatives in the Zhengmai system are rare all-round calligraphers in history, and we should pay enough attention to them. The significance of Zhao Mengfu (1254-1322) lies in the widespread existence of calligraphy circles since the Song Dynasty? Value meaning over law? Zhao Mengfu put forward a reflection to people, and he proposed to revive the ancient laws of Wei and Jin dynasties, boldly playing? Is it ancient? The retro banner. Thus, in the history of the development of China's calligraphy, the third great change took place, which made outstanding contributions to the new atmosphere of calligraphy in the Kai Yuan Ming Dynasty. He has been addicted to the ancient law all his life. Two kings? Without being embarrassed. As Song Lian said: Today's arrival? Two kings? Books, but with people, such as selling flowers to see peaches and plums. If Zhao Gong is the one who sees his living spirit at the bottom of the branches and leaves, it is not easy to change the customs. ? Tang studies? Two kings? Get its shape but lose its rhyme, Song studies? Two kings? If you get its rhyme and lose its shape, only Zhao Gongxue? Two kings? Even Dong Qichang and Fu Shan admired him in their later years.
It is precisely because of Dong Qichang's appearance that he played a leading role in establishing a school of calligraphy in the late Ming Dynasty. Dong Qichang is good at using pens and has unique opinions. He said:? When writing a book, you must be able to lift it. What is the beginning, what is the end, you can't trust the pen, and future generations all believe in the pen. It is necessary to raise the pen at the place where the pen is issued, so as not to suppress it, but not to spread the word through the ages. It's difficult to cover with a pen, but it's hard to be vigorous, which is not the saying that it's hard to use a pen to make a wood strong, but it's the strength of a strong person to connect with the whole body, and it's also very particular to learn Dong Qichang's ink method, which is dense and dry, and the music is wonderful. If people who study books can work hard with Mohism, it is a sign of being superior. Dong Qichang makes good use of light ink, and often uses emptiness and rhyme, aiming at pursuing a clean, elegant and leisurely style. His calligraphy works, which are generous, elegant and classical, seem to be scattered in shape but not scattered in spirit, and the lines are connected with each other, never showing a little impetuous spirit, and are well-deserved generations of people in the book world. His representative works include Red Cliff Fu, Moon Fu and Xie Xuelong's Confession.
5. Famous calligraphers in Ming and Qing Dynasties. Calligraphy in the Ming and Qing Dynasties is also worthy of great attention, among which famous calligraphers are Huang Daozhou, Wang Duo, Zhu Yunming, Wen Zhiming, Wang Chong, Zhang Ruitu, Ni Yuanlu, He Shaoji, Yang Shoujing, Fu Shan and Zhao Zhiqian. Among the calligraphers in the Ming Dynasty, Huang Daozhou's cursive script (1585-1646) had a great influence on today's calligraphy world. Pan Tianshou, Lai Chusheng and Sha Menghai, the great calligraphers of today's world, have made in-depth research on Huang Daozhou's style. Huang Daozhou is a man of great learning. He is known as Wang Duo and Ni Yuanlu? Three maniacs? . Huang Daozhou's cursive script is outstanding, and his lower case letters are amazing. In his books, there are? Between yourself? Creative spirit, more strong traditional skill. His small letters take the form of the law, and once they change into the wind of strict rules and regulations, they suddenly show a casual and unruly style. In his other books, it is not difficult to see that there are many mellow official meanings besides the rhyme of Zhong Yao and Wang Xizhi. Many people think that writing should be beautiful and straight. I don't know, too show is easy to make delicate problems, too tall and straight is easy to make dull problems.
in the structure, he tried to break the norm of correctness and symmetry, replacing correctness with partiality. Sometimes strewn about, sometimes avoid interspersed, sometimes Shu Lang and generous, sometimes tight and tight. In terms of composition, his spacing is very dense and his spacing is very sparse. The extra-sparse line spacing just leaves room for the uneven, scattered, generous and dense service of words, thus making their own rules appear. Vertical compact, horizontal Shu Lang? Contrast, produced a strong rhythm and contrast. Ni Yuanlu's running script is also quite distinctive, with a refreshing pen, which is obviously astringent when he wields it, and the shade and dryness of ink naturally coexist. In the glyph structure, the upper right corner of the word is often slightly raised and the lower left corner of the word is slightly extended, which makes the word extremely dangerous and has a strong sense of rhythm. As for the calligraphy in Qing dynasty, as far as the study of calligraphy is concerned, due to the prevalence of official style, the art of calligraphy can be said to be at the end of the road. However, the development of calligraphy in the Qing Dynasty also had a good opportunity, that is, a large number of ancient tablets were unearthed, which made many people of insight finally wake up. Under their loud voice and advocacy, calligraphy in the Qing Dynasty embarked on a road to vigorously study tablets.