Appreciation of writing brush calligraphy
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Three basic principles of regular script structure
Regular script has a square structure and the strongest expressive force, and it is easy to be upright and lifeless. Nowadays, people often use exaggeration and contrast to avoid this defect, but often due to excessive exaggeration and improper contrast, the structure of regular script looks weird and funny. Or spear and halberd, tense, or wag your head and tail, stagger? Someone put this? Little fun? Make public as a personality. On the contrary, it simplifies the contrast relationship and only extracts some characteristics of the classic law posts, which fails to be thoroughly investigated and the results are shallow. All this, all of it? Thanks for calligraphy? A sign of desire for success. In fact, excellent regular script works pay more attention to the unity of opposites and the overall harmony, and realize the contrast change in moistening things silently, which runs through everything, from the nuances of one painting to the whole composition, almost everywhere. Reading the classic regular script, we can always feel that they are profound and unforgettable, lively and serene, which is the secret. So how to understand and grasp the mystery of contrast in regular script creation? Three basic principles:
1, the principle of harmony between subject and object. In regular script, it is particularly important to establish the consciousness of the main pen. In a word, stippling must have primary and secondary points, just like the sun, the moon and the stars, each with its own sequence. The main strokes are not only instructive in structure, but also an important factor in the artistic style of regular script. If a work is mainly horizontal painting, it will form the characteristics of flat and horizontal knots, which looks quaint; If you use vertical painting as the main pen, it is easy to get vertical posture and look tall and straight; If you use the skimming as the main pen, your body will open and look steep. Of course, the choice and application of the main pen is not a single one-off, but often a variety of choices, each with its own emphasis. However, harmony should be the principle, otherwise the main strokes are too complicated, the colors are difficult to be unified, and it is easy to produce a sense of disorder; If it's too simple, it's tasteless. Take Chu Suiliang's preface to the Wild Goose Pagoda as an example: he mostly uses horizontal, left and right strokes as the main strokes, so his body is wide and his momentum is abrupt; However, his suffix scheme does not exclude the use of long-stroke vertical painting, but according to the inherent characteristics of Chinese characters, the long-stroke vertical painting is made thinner and the vertical hook is subtle and graceful (called? Rose thorn? ), thus weakening the resulting visual conflict. So from the structural point of view, Chu Jie is long, square or flat, which is natural; Judging from the use of pens, it is also varied, not the main reason. The secret is that the main pen is not abrupt, the auxiliary pen is not empty, the contrast relationship is realized in silence, and the subject and object are in harmony and complement each other. This superb skill of contrast and change is exactly where Chu Suiliang stands out.
The essence of harmony between subject and object lies in grasping the contrast between primary and secondary strokes. They complement each other and promote each other. If the contrast is too big, the etiquette is unfamiliar and rude; Deficiency is mediocrity and lifelessness. So the harmony between subject and object lies in change and harmony.
2、? Harmony without difference, violation without committing crimes? The principle of. The core of this principle is from? Different? Ask for it? And then what? In other words, change is the means and harmony is the goal. Under this principle, calligraphers break rationality through comparison and change. Same? Form inherent? And then what? , again? No offense. On the premise of establishment? And then what? New order. Obviously, this is a more advanced? And then what? The form of. As Sun's book soundtrack says:? Several paintings are painted at the same time, with different shapes; All the points are on the same line, which is good for each other. ? What is the organizational structure of regular script Chinese characters? Eight methods of eternal words? The eight basic shapes of the strokes represented are organically juxtaposed, crossed and combined. There are many repeated strokes in a word. For this kind of repeated strokes. Not just to shape it? Different? Good for each other? And pay attention to the overall harmonious order. If you pursue it too much? Different? Good for each other? Performance, violation? Harmony without difference, violation without committing crimes? Reason, it will appear vulgar, suspected of wild fox Zen. If the harmony between subject and object is aimed at the comparative grasp of the main pen and the second pen, then, what about offending and not offending? Refers to the relationship standard between all strokes in a word (including between words).
3. The principle of asymmetric balance. The purpose of this principle is to break the symmetry of geometric meaning. The structure and composition are suitable. Structurally, some Chinese characters are naturally symmetrical, such as? Medium? Door? Lin? If you don't compare and change the words, it is difficult to play games. The commonly used methods of contrast change are: creating a contrast relationship between stroke shapes, such as length, thickness, straightness, density, completeness, welcome, etc.; In terms of pen gesture, we use the methods of hiding and revealing, rising and squatting, square and circle, returning and covering, slowing and disease, tightness and looseness, strength and weakness, returning and opposing, and internal extension to make comparative changes. Or distinguish the relationship between subject and object by radicals, so as to break the stable pattern brought by symmetrical structure and make it vivid.
In composition, in addition to using the above-mentioned comparative means, we should also do a good job in brushwork and ink painting. In short, we should do everything possible to break the symmetry and establish a new balance relationship in the asymmetry.
Of course, the mystery of regular script is far from this? Three principles? What can be covered here is just a research idea. The previous study of regular script was too rigid and easy to show people by law. Eight methods of eternal words? Go to Ou Yangxun to sign a letter? Thirty-six farriers? Eighty-four laws? , Huang Ziyuan? The law of ninety-two seems to be caught in the maze of gossip, and the result is? Law? The more you talk, the more confused the learner becomes, and the last thing you write is lifeless? Pavilion body? . The main reason is that the description of stippling form has not been sublimated into a summary of the law of change, so it is rigid and dogmatic. Coincidentally, what was advocated by Mr. Yu Youren in modern times? Standard cursive movements? Isn't it the recurrence of this tragedy in the field of cursive script?