Li Si sought changes in the frame structure of Shi Zhou's large seal script and created the frame structure of small seal script; Cheng Miao sought changes in the frame structure of his predecessors'

Li Si sought changes in the frame structure of Shi Zhou's large seal script and created the frame structure of small seal script; Cheng Miao sought changes in the frame structure of his predecessors' calligraphy and created official script. Wang Xizhi also sought changes in the frame structure of his predecessors' calligraphy, and developed regular script, running script, and cursive script. The structure of his handwriting is very beautiful. Most calligraphers of later generations sought changes in his frame structure and formed their own styles. A person who writes with a brush cannot even write the most basic structure of characters well, then he cannot become a calligrapher. "Zhen, Cao, Li, Zhuan", each font has its own rules of writing. The rules of writing have changed, and the fonts have also changed accordingly. Perhaps new, better, and aesthetic fonts have been produced. When we appreciate the quality of a piece of calligraphy, we must look at the beginning, line, and end of each stroke. We must see whether the stroke is powerful, whether the stroke force is even and smooth, and when writing dots, horizontal strokes, folds, vertical strokes, hooks, and strokes. When making strokes such as , N, N, etc., do they conform to the writing rules of this font? These writing rules have been refined by the great calligraphers of the past. Every great calligrapher has different styles of writing, but what remains the same is that every stroke they write has skill and aesthetic value. Calligraphy

The strokes that a calligrapher has no skill in writing and have no aesthetic value are called "failed strokes". Therefore, calligraphers must take the good writing rules of the predecessors as the basis for learning and practice the basic skills of each stroke in calligraphy. For some calligraphy, there are words when viewed from the front of the paper, but no words when viewed from the back of the paper, indicating that the writer's pen is weak and unable to penetrate the back of the paper. In some calligraphy, the strokes are intermittent when viewed from the back of the paper, indicating that the writer's strokes are unevenly applied. For example, when looking at the character "大" from the back of the paper, the starting point is a dot, the ending point is a dot, and the intersection is a dot. There are 6 dots on the back of the entire character. This is caused by uneven stroke force. Wang Duo, who lived in the late Ming Dynasty and early Qing Dynasty, is known by the Japanese as the "Sage of Calligraphy" in Chinese cursive script of the Qing Dynasty. His calligraphy and painting works also have high prices in the auction market, but there are many flaws in his calligraphy strokes, which make people feel that his calligraphy is not enough. Refined. Zhan Jingfeng's calligraphy in the Ming Dynasty was very precise and had few mistakes.

Second, look at the connotative language. The language of calligraphy includes the following five points: The first point is whether there is literary connotation in calligraphy. A good calligraphy work not only reflects the meaning of each word, but also reflects the meaning of the article. The entire text of Wang Xizhi's calligraphy work "Lanting Preface" not only reflects the beauty of the font, but also reflects the beauty of the article. The beauty of the text and the beauty of the article are both embedded in the calligraphy work. The same is true for Su Dongpo's calligraphy work "Chibi Fu". These calligraphy works are called "literati characters". When we look at a calligraphy work, we often comment: "This is a scholar's calligraphy," "This is a calligrapher's calligraphy," "This is a craftsman's calligraphy." This is because the literary level of the writer is different, which is reflected in the words. The connotations expressed in the words are different and the feelings generated are also different. Reading good calligraphy works gives people room for their thoughts to roam. Appreciating calligraphy is like appreciating poetry, because calligraphy itself is a reflection of thoughts. Reading Wen Zhengming's calligraphy works is like reading pastoral poems, which will evoke associations with the pastoral. Reading the calligraphy works of Mao Zedong and Guo Minruo will also give people associations with poetry. The third point is whether the calligraphy works contain the rhythm of music. In good calligraphy works, the structure of each word and the structure between words have the rhythm of music. When you read Mao Zedong's calligraphy work "Qinyuanchun·Snow", you feel as if you feel the most majestic symphony in the world playing. . Point 4: Does calligraphy contain the artistic conception of painting? "Calligraphy and painting are one body", words are abstract paintings, and good calligraphy works fully demonstrate the artistic conception of paintings. Point 5 is the connotation of calligraphy. The connotation of calligraphy includes whether it is grand or stingy, whether it is unrestrained, elegant or restrained, whether it is elegant or vulgar, whether it is heavy or frivolous, etc. These are all related to the calligrapher's character. As the saying goes, "the words are like the person they are". Mao Zedong's calligraphy is magnificent, which is determined by the courage of the great statesman. Wang Xizhi's calligraphy is free and elegant, Yan Zhenqing's calligraphy is thick, and Wen Zhengming's calligraphy is elegant. In short, the rich language covered in calligraphy works should, from a certain perspective, be a reflection of the calligrapher's personality.