Calligraphy works official script appreciation calligraphy works official script appreciation pictures 1
Appreciation of calligraphy works official script Figure 2
Appreciation of calligraphy works official script Figure 3
Appreciation of calligraphy works official script Figure 4
Appreciation of calligraphy works official script Figure 5
There are 40 kinds of structural changes in official script.
Official script is also called? Official script? 、? Ancient books? . It is a font produced on the basis of seal script to meet the needs of convenient writing. The seal script is simplified, and the uniform circle lines of the seal script are changed into straight strokes, which is convenient for writing. Integral? Qin Li? (also called? Coulee? ) What else? Han Li? (also called? Jin Li? ), the appearance of official script is another great reform of China characters, which brought China's calligraphy art into a new realm, was a turning point in the development history of Chinese characters, and laid the foundation for regular script. Official script is flat, neat and exquisite. In the Eastern Han Dynasty, stippling such as skimming was beautified as upward provocation, with different degrees of severity and artistic beauty of calligraphy. Styles also tend to be diversified, which is of great artistic appreciation value.
First, horizontally and vertically.
Horizontal painting is smooth, vertical painting is upright, the whole word should be straight and vivid, and the strokes should be flat but not stiff, straight but not hard. Write the feeling of harmony, symmetry, dignity, neatness, liveliness and beauty.
Second, there are no two sets of silkworms.
Bosi pen in official script is the main pen, but it is strictly used. There are no more than two silkworm heads in a word, so it is necessary to avoid repetition when writing.
Third, geese don't fly in pairs.
Like a silkworm head, there are more than two goose tails in one word. For words with multiple horizontal lines, choose the most critical horizontal line as the goose tail to make the structure clear and vivid.
Fourth, stretch left and right.
The shape of official script is generally flat, tight up and down, and the left and right strokes are as long as possible, forming a horizontal trend.
Five, up and down accuracy
Under normal circumstances, we should avoid the structure of words being too high and too long, draw more words with high glyphs, try to be thin and compact, and the strokes should be delicate and vigorous. Remember to over-compress and strengthen the left and right stretching.
Sixth, the center of gravity is stable.
Every word has its center of gravity. If you master a word well, it will be smooth and dignified. If you don't master it well, it will be crooked. The strokes of the center of gravity of a word must fall on the center point with heavier weight and more critical position, in order to maintain balance.
Seven, echo each other
When a Chinese character has symmetrical parts, we should pay attention to their echoes, look around, cooperate with each other and be vivid.
Eight, heavy turbidity light pro-Qing
On the left or upper part of a word, the strokes are dense and clear, while on the right or lower part, the strokes are not so sparse and turbid. Clear is light or thin, turbid is heavy or thick, but don't make the difference between the thickness of strokes too big, and strive for overall symmetry.
Nine, the proportion is equal
The up and down, left and right collocation of each component of the word should be appropriate and evenly distributed, each accounting for one-half or one-third, and strive to be stable up and down, left and right, with equal proportions. Avoid uneven density and different sizes.
X. Uneven and complicated
A word has more than two strokes with similar shapes, so we should avoid similarity and rigidity, and strive to be vivid, changeable, irregular and undulating. The arrangement of strokes is moderate, there are risks in stability and unity of charm.
XI. si painting should be on.
For the sake of beautiful text structure, when there are more than two horizontal paintings, the wave painting of some fonts should choose the horizontal painting above to make the whole more harmonious and vivid.
Twelve, the painting should be appropriate.
In some fonts, if there are several horizontal paintings, try to make their characters vivid. We should choose the horizontal painting in the middle as a wave painting to highlight the key strokes.
Thirteen, painting is appropriate.
For some glyphs, in order to keep the characters steady, we should choose the horizontal painting below as the wave painting to hold up the font frame above, so as to ensure that the glyphs are steady and powerful without losing their center of gravity. The length of wave painting depends on the upper situation.
Fourteen, the painting should be small
When there are two shoulders under a word, such as waves, the silkworm head and goose tail should not be too big, but slightly thinner. Otherwise, the whole word will be incongruous and unsightly.
[Reprint] There are 40 kinds of changes in the structure of official script.
Fifteen, the left side should be flat.
The left part of the word is small, so the left part and the right part should be flat-headed, so that the right part can fully display its strokes and make the whole harmonious and clear.
Sixteen, the right side should be in the middle
The right part of the word is small, so the right part should be close to the big part on the left, and live in the middle. Remember to go up or down, so as to make the whole feeling balanced and coordinated.
Seventeen, Yifeng is not thin.
Words with few strokes and sparse structure should be rich and sparse, and the strokes should be thick and full. The font has a full and generous feeling, and the shelf is correct and vigorous and natural.
Eighteen years old, should be thin but not fat.
For words with many strokes and wide structure, the lines should be thin, thin but not thin, and the strokes should be slightly thin and tight. Pay attention to the symmetry of the shelf structure when carrying pens, and don't let the words feel cramped or loose.
Nineteen, should wear not stick.
For words with many cross strokes, pay attention to the spacing from top to bottom or from left to right, and the density, length and width of cross strokes. The intersection must not be crowded, and the strokes should be clear and properly interspersed.
Twenty, partial concessions
The size of the left and right radicals depends on the size of the main part. If the main part is larger, the radical is slightly smaller. We should take care of each other, welcome each other appropriately, cooperate closely, narrow the width, make the small bigger, and coordinate and harmonize.
21. Convergence while reserving differences
When two or more identical parts are juxtaposed or overlapped, the same parts should be written in different ways, so as to enrich and enliven the harmony and vividness of the whole with minor changes in each part. Avoid morphological similarities, such as operators.
Twenty-two, the painting distance is equal
For words with correct fonts and many strokes, the stroke spacing should be symmetrical and the strokes should be neat. No space, no density, no bias and no connection. In order to avoid rigid and lively dynamics, we need to change flexibly according to different situations.
Twenty-three, seeking power in an oblique way
For characters with skewed glyphs and strokes, we should stipple the skewed characters, make great efforts in stippling form, center line and support points, grasp the center of gravity, and seek the right by deviation, so that the shape of the characters will be dynamic and give people a lively feeling.
Twenty-four, internal and external moderation
The text around the structure should be uniform and full inside, neither too big nor too small, neither too high nor too low inside, and in the middle, the periphery should not be forced. Pay attention to the ratio of inside and outside, cooperate properly, and don't feel empty or bloated.
25th, the back is clear.
The left and right parts of the word are opposite or opposite, so they should be interspersed and avoided, each in its place, and form a whole at the back, so as to achieve [not to hinder the direction] and [not to leave the back].
Twenty-six, because of the word shape
When writing, the number, length and size of strokes of each word must be determined according to its characteristics and natural form.
27. The cover should be wide.
A glyph like Bao, which is wide at the top and narrow at the bottom, requires that the wide part at the top cover the narrow part at the bottom, showing an inverted triangle, but the center of gravity does not fall. On the empty, see ghosts and gods in contrast.
Twenty-eight, horizontal long vertical short
Where there is a horizontal character in the middle or bottom, it is necessary to highlight the horizontal painting. The horizontal direction should be long and short, and the long horizontal direction should be plump and solid, but not bloated, so that the static edge can move.
Twenty-nine, horizontal short vertical length
For figures with vertical paintings in the middle, vertical paintings should be tall and straight, slightly longer, highlighting the main position of vertical paintings in the figures and avoiding short oblique. Write steadily, like a strong pillar.
Thirty, small left and big right
Some glyphs are due to structural changes, and the left part is often written as a small point, while the right part is written as a large point and elongated. At first glance, it is inclined, but it does not lose its center of gravity and is balanced and unified.
Thirty-one, big left and small right
Some words are written big on the left and small on the right. Put it on the left, fold it on the right, tighten it on the right, and stretch it on the left. The two parts, one big and one small, one high and one low, correspond to each other from a distance and have no meaning.
Thirty-two, left and right avoidance
Some words are easy to appear loose and uncoordinated because of complicated structure or strokes. Therefore, some strokes should be extended to the left or right, so that they are neither crowded nor separated, and the overall stability can be maintained.
[Reprint] There are 40 changes in the structure of official script.
Thirty-three, big and small.
Some words, the upper part should be wide and stretched, and the lower part should not be big. Specific strokes should be handled according to their respective structures, with the upper width and the lower width, the upper solid and the lower virtual, and the lower solid.
Thirty-four, small, big and small
Some words, the lower part should be wide and stretched, and the upper part should be tight and short, like a triangle. The specific strokes should be handled according to their respective structures, and they should be broad and narrow, solid and imaginary, solid and dignified.
Thirty-five, horizontal and vertical
The flat and wide characters should be naturally flat, slightly flat in structure, vivid and full. It is necessary to prevent the strokes from being drawn too long left and right, and the shapes from being drawn too flat up and down.
Thirty-six, vertical exhibition
The long and narrow characters are vertical, exquisite and elegant, stretching up and down. Be careful not to press the up and down strokes too tightly and not to stretch the strokes too long. Do it horizontally and vertically, dense on the top and sparse on the bottom.
Thirty-seven, tight inside and comfortable outside
One of the characteristics of official script is that the font is horizontal and vertical, forming a long stretch from left to right, while the middle palace is tight and the middle part is closed, which has the characteristics of extending hands.
Thirty-eight, should choose oblique.
When multiple horizontal and oblique paintings appear at the same time, the horizontal painting should obey the oblique painting. In general, horizontal painting can't use goose tail as feet, but use oblique painting feet to make the whole look more beautiful.
Thirty-nine, high left and low right
For the beauty and vividness of the text, some left and right parts of the text can be written in the form of high left and low right, forming a patchwork and lively feeling, seeking change in coordination, and making the whole word harmonious and smart.
Forty, homophonic alien
When there are more than two identical words in a content, we should avoid writing together and make changes in structure and strokes to make the whole text colorful.