Ze's "Gengzi Selling Summer Stories" said: "Calligraphy is elegant, and the front and back complement the' ritual monument', which is also a treasure of Han stone." In the Qing Dynasty, Zhu Luzhen said in "An Introduction to Calligraphy": "There are only more than 50 lines of inscriptions, and there are not many rubbings, and the brushwork is all there. Although the book of naming and counting at that time was not as good as the preface, Xiao's style was unique and beyond the reach of future generations. This hides the true face of the Han people, and the wall leaks in the night rain. " The Qing Wanjing "Kao Han Wei Bei" said: "Calligraphy is beautiful and flying, and it is also a strange product without binding or rushing."
Cao Quanbei is elegant and beautiful in many official script styles, and it is even better in brushwork. For those who study official script, it should be correct to choose this tablet as a model.
1. The artistic style of this monument is mainly beautiful and strong at the same time. When you study, you should show your integrity. Stippling should be rich and barren. Press more when lifting the pen, and the strokes are mature and natural. You shouldn't use the pen too astringent and the ink too dry. In structure, we should pay attention to the changing law of its center of gravity and match the density to enrich the structural changes. In the choice of pen, wool pen is suitable, and wool pen can better reflect its characteristics of rigid and flexible lines, roundness and fullness.
2. Learning should not be fast, every stroke should be fast and slow. For example, the pen should be slowly started and closed, and the middle part should be fast, and then the combination of illness and astringency should be pursued.
3. In the initial stage of learning, we should be faithful to the original work, carefully analyze and experience the original post, and focus on the comparative training of "hidden front into paper" and "hidden front into paper" in the pen. Training requires meticulous brushwork, careful consideration of structure and attention to the relationship between parts. Structural training should correctly grasp its characteristics and not be sloppy.
4. When copying, you must have the spirit of studying and the perseverance to overcome difficulties. Only by making an appointment first and then returning to the appointment by Bo can we succeed. Never change your mind. The foundation is not solid, but you are busy creating, which is the taboo of learning books. The structural features of Cao Quanbei are: spacious and smooth, free and unrestrained, horizontal glyph, long square structure at intervals, smooth horizontal opening, subtle and steady vertical structure, which makes the structure look elegant. The extension of the structure, the indulgence of the pen and the mellow beauty of Cao Quanbei's mood reflect the calligrapher's artistic ingenuity and creative self-confidence in seeking stability in the turmoil, making his works beautiful and heroic. The unique personality and specific connotation of this monument's elegant style are far from being comparable to other Han Li.
Before analyzing the structural characteristics of Cao Quanbei in detail, let's talk about the problems that should be paid attention to when studying the monument structure.
To write the structure of Cao Quanbei well, we should try our best to achieve accurate vertical and horizontal positions and clear strokes. "Vertical and horizontal occupation" refers to the position of each stroke.
And how many positions are occupied vertically and horizontally. The positions of strokes are different, so the vertical and horizontal positions are also different. Eating the right vertical and horizontal space occupation is directly related to writing a good structure. Then clarify the echo relationship of each stroke or each part, and at the same time, be sure to see the brush gesture clearly and show it in the pen. According to this method, Cao Quanbei can quickly master a variety of ways to use pens, and the effect of temporary study is very remarkable. But first of all, we must read the copybook carefully, that is, we must carefully observe the copybook and recite every stroke to the whole word. Only by seeing clearly, observing carefully, paying attention to the arrangement of stippling structure in copybooks and memorizing strokes, turns or Fiona Fang one by one can we better grasp the style of fonts and improve our appreciation ability. This is the first step of the post.
Secondly, observe the words accurately. As Wang Xizhi said, "concentrate on your mind, predict the font size, droop, vibrate directly, dredge the tendons and veins, and then write." Before writing, you should use your head and try to make clear the arrangement of length, skew, thickness, turning point, lifting pressure and frame structure, and keep it in mind, so as to write accurately.
Third, write steadily. In other words, in the process of writing, the pen should be steady, the pen should be sent to the end, and the pen should be fully prepared. This requires the trainees to work hard and have real skills. Only by practicing repeatedly can we be comfortable and use it freely. Let's analyze the structural features of Cao Quanbei in detail.
1. The oblate structure is Han Li's * * * nature, which is determined by Han Li's tendency to take a horizontal position. However, some of the writing structures are almost flat, which is rare in other Han steles. As shown in Figure 1, "* * *", two beams spread downward and swing from side to side. The upper two vertical beams correspond to the lower two tight beams, which shows the tight knot in the middle palace, which is in contrast to the big wave painting in the middle. The horizontal painting of the word "straight" and "Deng" in Figure 2 is like a gymnast stretching his legs, and his upper body is symmetrical and tight. In Figure 3, the word "Yuan" is like a big umbrella, which completely covers the middle part, while the vertical hook of the word "Yuan" extends as far as possible to the right, making the whole word elegant and stretched.
Figure a
2. The size is alternating. This is also the structural feature of Cao Quanbei. The big one is like the word "Xue" in Figure 4, and the small one is like the word "Gang". The size ratio of the two is about twice. Because of the wide spacing and sparse lines on this monument, the size of the knot appears uneven in the orderly grand composition, which is full of variability and adaptability, so the big one does not see its big, and the small one does not show its small, thus achieving a dialectical unity that complements each other. It can also be seen that the author is very good at using the method of contrast to enrich the composition of this monument through the size and length of the text.
This cloth is well-proportioned. This is mainly manifested in the coordination between stippling of a word, the distance between the same stippling is roughly equal, and the stroke combination of the word is also sparse.
Dense symmetry. As shown in figure 5, the left half of the word "tide" is painted in dense rows, and the right half is painted in sparse rows. The gap between strokes is very uniform, the left and right are consistent, and the density is good. Those who circle repeatedly, such as the two "Yao" in the word "You", are the same size but not rigid. This structural arrangement endows Cao Quanbei with neat, steady, exquisite and elegant temperament.
4. put it away at will. Structural expansion is the main feature of Han Li's historic sites, especially in Cao Quanbei. Its retraction is mainly reflected by the left and right stretching of the pick wave and the skim wave. As shown in Figure 6, the word "Kan" is loose on the left and tight on the right, while the word "Yi" is reversed, that is, the word "Jing" is put down and the word "forbearance" is put down. In this way, the height is scattered, the width changes, and the density of the two parts is properly reconciled, making the characters vivid and flexible. It can be said that the collection has reached its acme in Cao Quanbei, which has become an indispensable main feature of this monument and a symbol of its maturity. Most of these characters are fluent in strokes, moving silently, swallowtail, comfortable in posture, and the contrast between density and vertical convergence is particularly strong. Cao Quanbei's elegant and beautiful style is mainly reflected here.
5. The pen is broken. As shown in Figure 7, the strokes in the left and right corners of the upper half of the word "Guo" are broken, which makes it full but not forced, while the "or" in the middle leads to ethereal and more ethereal. Another example is the left side of the word "Lu", which should be the place where the second horizontal line in the upper part and the vertical line in the lower part are connected, but now they are separated and combined with the right side to form a word. The left side is broken and the right side is connected, but they set each other off.
6. Tighten and loosen. The word "Cao Quanbei" is beautiful and elegant, just like a fairy coming down from the earth, she is outside the cloud nine. It is not only flatter than the general Han tablet, but also closely related to the upper beam and the middle and lower extension of its center of gravity. As shown in Figure 8, the word "Yi" is short on the top and high on the bottom, or vertical or scattered. Another example is that the whole word "Li" is folded up, tightly wound in the upper half of the palace, and escapes to the left in a thick arc, which is more rhythmic in the strong contrast of density. This close-fitting structure is one of the key elements to form a beautiful artistic style. It is beautiful with Gu Zhuo's simple and natural beauty and cannot be biased. Vertical painting plays a role in stabilizing the center of gravity and supporting the skeleton in Chinese characters. Therefore, vertical painting should be written tall and straight, so as to play a connecting role in Chinese characters. Cao Quanbei's vertical painting is mainly written like this:
Figure b
(1) The tip and tail are vertical. In the vertical painting of Cao Quanbei, the round nib is often used to collect the pen, and the pen is started against the front and spread down against the trend, so that the pen will rub the paper evenly and vigorously.
Even when the pen is closed, the pen tip is gradually lifted slightly, and the front end is closed in the air, and the linear shape is conical. This kind of vertical painting is different from the vertical hanging needle in regular script. After writing skillfully, it is the result of returning to the front in the air and collecting the pen in vain. It is fuller than a hanging needle, and it has implicit meaning. As shown in figure 1, "soldier", figure 2, "gentry". The specific writing of this vertical painting is: the Tibetan front enters the lower right, goes straight down after returning to the middle, slightly down before the front, and then slightly up, so that the two ends of the vertical painting are slightly thicker, the middle is slightly thinner, and the lines are round and full. As shown in Figure 3 "Yin", Figure 4 "Ye" and Figure 5 "Nian", their specific writing is that the front end goes down after the Tibetan language enters the paper against the trend, and the last stroke is light, the stroke shape gradually becomes thinner from coarse to fine, and the lines are rich and stretched. (2) The round tail is vertical. The difference between this vertical method and the pointed tail vertical method lies in the place where the pen is collected. When it receives the pen, the tip of the pen is solid and the end of the pen is round, which is a bit like vertical hanging, but it is not like vertical writing in regular script. It is more energetic and powerful than a pointed tail. As shown in "Ping" in Figure 6 and "Zhi" in Figure 7.
(3) Short vertical, as shown in Figure 8 "except" and Figure 9 "ground". It hides its head and protects ni, which has many benefits. The stippling is uniform in thickness, round in head and tail, and the lines are more moist and subtle. The specific writing is: the Tibetan front moves back to the right, and then moves back to the middle and down. Pay attention to writing at a constant speed, and finally collect the pen at the pen collection place.
(4) Stand side by side. When a word has many vertical characters, we should pay attention to the difference between positive and negative, as well as the unevenness of length, thickness, straightness and pen collection. As shown in figure 10, the two vertical positions of the word "Guo" are opposite; In figure 1 1, the two vertical positions of the word "Shang" are opposite; The two vertical positions of the word "money" in Figure 12, one long and one short, are exquisite and vivid, which makes people unforgettable. The brushwork of Cao Quanbei is rich and varied. In modern times, Mr. Hua Yao thought that "his pen is like a printed circle, so although it is thin and full, it looks like a cone painting stone, which is the most noteworthy." Those who use turning and folding at the same time all lift first and then press, some stumble, some break and continue. All reasons
It is extremely rare to combine leniency with severity, and it is extremely rare to ask the author for help, so it can be unique. In addition, some people see the beauty in contrast to the ordinary, such as the word' moon', which is left-handed but straight down. If the needle is suspended, the side is also used, the relaxation and convergence are all the same, and the potential energy exists, so the change can be realized. "This requires learners to carefully understand the changes in brushwork, that is, either the pen-starting form or the pen-receiving form, or one of the length, thickness and direction is changing, or several may be changing. The combination of strokes can be changed, which is manifested in the strokes, which are colorful and diverse; The person who writes shows that he has mastered all kinds of different pen methods before he can write all kinds of strokes. Being able to write all kinds of strokes consciously is one of our learning purposes. Otherwise, if the strokes are not accurate, you will not be able to enter the structural science, and you will not be able to express the strokes in the pen.
Figure c
1. How to write? Points are the basis of strokes, and other strokes are extensions of points. In official script, dot is the abbreviation of other strokes. Cao Quanbei has many changes, and its brushwork is powerful and unambiguous. Put the pen upside down on a flat surface, show it slightly, and then take it out. People think that the dots in this monument are word eyebrows, which are used to express the spirit of looking forward. Therefore, although their dots are flat paintings, they are all shaped with words. There are mainly the following types of stippling on this monument: (1) vertical point. The vertical point is the same as the head of vertical painting, which is actually the shortening of vertical painting. It says: Tibetan Front retreats a little to the right, goes down a little, goes back to the middle, and goes straight down. As shown in Figure 1, the vertical point of the word "dry".
2. Vertical point. The point is pointed at the top and rounded at the bottom, and the situation is up and down. The pen collection place seems to be exposed, so it is called a vertical point. The writing method is to slightly reverse upward, then stay down, lift the paper to the right after the belly of the pen, and stir up the light collection. As shown in figure 2, the word "temple" is dotted.
Skim the main points. Its shape is similar to flat skimming, so it is called skimming point. Actually, it's flat shortening. Its writing method is to start from the front, stay slightly to the lower right and to the lower left. It should be noted that the front should not be too straightforward, but should be implicit. As shown in Figure 3, the apostrophe at the upper left of the word "cong".
4. Click on it. Its shape is similar to the shortening of Si painting, so it is called Si point. It's written that Zangfeng reversed into the car and went down to the right, then stopped at the upper right, and then lifted it gently while lifting it. As shown in Figure 4, click the word "fen".
5. Choose a place. This stippling is provoked to the right, so it is called picking points. What it says is this: Tibetan front moves backward to the right, then stops at the next stop, moves up and down to the right after returning to the middle, and then slowly closes up after gently picking. As shown in Figure 5, the lower point to the left of the word "North".
6. Horizontal point. The stippling is shaped like a short horizontal line. Its writing method is to gently put it into the paper, that is, parallel to the right, and then gently stay at the beam. Be careful when writing this. As shown in Figure 6, the upper point of the word "Shang".
Step 7 bow your head. Dot color is shaped like a short contraction of horizontal folding. The writing method is to write a short horizontal line at the front end of the Tibetan pen until it stops at the fold, and then write down. As shown in Figure 7, the upper point of the left part of the word "Lang". Picking a painting is a stroke from the bottom left to the top right. The strength is heavy and light, and the strength is consistent. In the official script, draw short, use the pen to reverse to the left, pause slightly, and then turn right to the front. Slow down, slow down, don't write fast, there must be a dangerous trend to collect and pick up the pen. As shown in figure 1, choose the word "politics". It should be noted that the shape of the painting is single, and its changes are mainly in thickness, straight arc and tilt, but there must be a short arrow on the crossbow and a desperate gesture. Folding painting is the corner where two strokes intersect, and it is the combination of two strokes. It reads like this:
Figure d
1. Cross-fold. As shown in Figure 2, the horizontal stroke of the word "stone" is a combination of horizontal and vertical strokes, which is completed in two strokes. First, the Tibetan front retreats to write a horizontal painting, then slowly moves to the right until the stroke starts again at the turning point, the Tibetan front retreats, writes vertically downwards, and finally slowly raises the front to close the pen. When writing this kind of folding picture, the wrist should be turned flexibly and the connection should be natural. When writing vertical pictures, don't raise the pen too high to avoid "shrugging" failure. Another kind of transverse folding is not to start writing again at the fold, but to start writing up and down again. This kind of folding painting has natural ecology, including horizontal painting, vertical painting, outer arc or inner arc. As shown in figure 3, the word "Jing" is folded horizontally.
2. Elliptical folds. This kind of folding must pay attention to the turning method when folding from horizontal painting to vertical painting, and the turning point is smooth and even without creases. However, this is not absolute. In fact, there is still a slight movement before the pressure is raised and adjusted at the corner, as shown in the second folding picture of the word "Zi" in Figure 4. In this regard, we must carefully analyze and observe when studying.
3. Fold vertically. As shown in Figure 5, the vertical folding of the word "tianxia" is a folding painting composed of vertical painting and horizontal painting. The specific writing method is: first, Zang Feng began to write vertical paintings, then slightly changed the direction of the front at the turning point, then asked the right line when the front of the pen stopped, and neatly wrote Jun Fang at the turning point. The use of this folding painting in this monument adds some vitality to the beauty of Cao Quanbei.
4. Fold horizontally. This is a combination of horizontal painting and left painting. As shown in Figure 6, the specific spelling of the word "reverse" is: first hide the front and write a horizontal painting, then stop at the reversing place and write it to the left. However, when writing this stroke of the word "Fu" in Figure 7, we should pay attention to the following points: first put the pen down, then pick the line to the left, re-enter the direction when leaving the paper, then stroke it to the left and hand it out. When writing this back, make sure that the stippling is light and smart.
5. Fold horizontally, as shown in Figure 8. First hide the front and then move, start writing slowly, then go up and down to the right in the reversal position, then go down to the left, then reverse the direction, then turn an arc hard, and then turn slowly to the left. Be careful to write thick and round, don't slip lightly. Pay attention to the changes in Fiona Fang when making this painting, and send it slowly.
6. Fold. It is a folding painting composed of a left-handed painting and a reverse hand painting, as shown in Figure 9. Specifically, start writing obliquely, but don't close the pen at the front, turn at the end and write to the right. Cao Quanbei's hook painting has its own unique form. Some hook paintings are similar to sketches, some are similar to sketches, some are like points, and some omit hook heads. It's really varied and varied. The specific hook paintings mainly include the following:
Figure e
1. vertical hook, as shown in figure 1, vertical hook is on the left of the word "fu". Specifically, the Tibetan front goes straight down, and it is gradually sent to the left after half a day, until it is pulled up everywhere and the back front is combined.
Step 2 leave the hook. Generally speaking, the tick of official script is left, which is similar to the left-handed writing in official script, as shown in Figure 2. Its writing method is: when you start writing, you should write vertically, pick up the pen at the corner, after a short pause, bend the pen tip slightly, spread the pen tip slightly to the left, arc slightly downward against the trend, and cut it again when you close the pen, so as to be firm and firm.
3. Cross hook. Its writing method is: first write a horizontal picture, and finally lift the pen from the end of the paper, then return to the front of the paper, turn the front slightly to the left, and finally lift the front and close the pen slightly. Cao Quanbei's hook painting is generally written in two strokes, but it is very disjointed, as shown in Figure 3. The word "room".
4. Grab the hook. The hook, vertical hook, back hook and heart hook in regular script bend to the right in official script, and the shape is the same as that of pen, so it is also called hook. As shown in Figure 4, the word "person" has a long hook, which dominates the whole word. What it says is this: the reverse side stays slightly upward in the paper, then goes down to the right, gradually presses down after half, then lies flat on the lower third, and then flattens out, and the exposed front side comes out. When starting a pen, the vertical hook of the word "ten thousand" is folded, and the pen is lifted at the same time. In the reversing position, the pen has left the paper, then put it in gently, and then gradually press it down to the right, and gradually become heavier when collecting the pen, and drag it horizontally to the right and front to make it far-reaching. Another example is the back hook of the word "wind". Its horizontal painting is slightly arc-shaped, gradually lifting to the end, slightly turning, then descending obliquely, slightly lifting in the middle, then turning to the lower right, pressing the lifting step by step, and collecting the pen implicitly.
In a word, there are two kinds of hook paintings in official script, left hook and right hook. Although the length of the left hook has changed, it still means hook. However, the right hook is picturesque and often confused and difficult to identify. In Cao Quanbei, if we observe carefully, we will find that the right hook has obvious changes during the stroke: either there is a slight depression in the middle of the stroke, like a boat; Either the middle part is straight, or slightly arched and tortuous, so it becomes a picturesque or heart hook of regular script. In Cao Quanbei, there are two kinds of left-handed paintings: the main painting and the auxiliary painting. The main strokes, such as straight strokes and oblique strokes, are all classic strokes of official script. Generally speaking, the sketch of the auxiliary pen will not change much. At the same time, if a word has multiple groups, its primary and secondary changes are not obvious, and the inclination direction and angle are roughly similar, which has a sense of order. The specific writing is as follows:
Figure f
1. oblique. This kind of skimming has already taken shape in regular script, but it is not widely used in official script of Han tablet, as shown in Figure 1. The writing method is: point the pen slightly at the front, return to the middle and go down to the left. It is advisable to take the side pen as the center, the pen tip to the left and the pen body to the right. It is advisable to write slowly, gradually pick up the pen, and force the front tip to avoid the feeling of being thin and frivolous.
2. Straight man. As shown in Figure 2, the word "Yi" is left at the beginning. Its specific writing is, stop in the paper and send it obliquely to the lower left, and it will stop in various places. When you study this painting, you should pay attention to the slow pen collection, but the pen should be sick, so as to be smart and powerful. If you hesitate, you will easily lose your strength.
3. Hook. Its writing method is to move the Tibetan front backward, stop for a while and then move to the lower left until the pen tip is slightly lower, the twisting front is upward, and the pen can be closed, and the hook can be large or small. This kind of pen skimming often requires a certain direction of lifting and changing pens in the middle of strokes, so the shape has a sense of ups and downs, such as swaying willows and hibiscus flowers in the spring breeze. This painting can't be written too smoothly. If it is fluent, it will be weak. As shown in Figure 3, "open" and "right" are hooked together.
4. Short and flat. It is written as follows: the Tibetan front moves back a little, the center slowly rises to the left, and finally the front is exposed to the left, and the tail tip is pen-like, as shown in Figure 4.
5. vertical skimming. As shown in Figure 5, the second apostrophe of the word "salty" has no apostrophe in shape and direction, and looks like a short vertical line. Its stroke is similar to other strokes, except that it goes down vertically at a constant speed and can be put back and forth.
6. Square tail. As shown in Figure 6, the words "De" and "Shou" are picked at the end. This kind of skimming is an obvious feature in the stippling of official script, and its pen receiving place is square. This apostrophe is widely used in this tablet computer and difficult to write, so you should experience it more when writing. The specific writing method is: after you start paddling towards the front, press the line to the left, send it to the left in the middle, and lift the pen collection position to the right in a square shape.