Chinese calligraphy? A unique art inherited by China for thousands of years. It is a fine product and the quintessence of the country. In order to instill calligraphy knowledge into the public, continue to develop and expand the art of Chinese calligraphy, and explore the classics in calligraphy, what I bring to you below is a 28-character regular script calligraphy work. I hope you like it. Appreciation of 28-character regular script calligraphy works
28-character regular script calligraphy work 1
28-character regular script calligraphy work 2
28-character regular script calligraphy work Work 3
28-character regular script calligraphy work 4
28-character regular script calligraphy work 5
Regular script writing skills
The long-term development of Chinese calligraphy In the process of development, an extremely rich set of brushwork techniques has been formed, and each type of brushwork has its own technical terms and connotations. There are many writing techniques for writing regular script, such as grabbing the pen, stopping the pen, squatting the pen, setting the pen, applying the nose pen, folding the pen, turning the pen, turning the pen, twisting the pen, running pen, standing pen and so on.
Pen-grabbing: refers to a preparatory action before pen-writing in which the tip of the pen does not fall off the paper but makes a folding motion.
Pen pause: refers to when the pen tip is pressed down, and after receiving the pressure of pressing down, it falls vertically on the paper, and then receives the resistance of the paper surface, causing the elastic pen filaments to continuously press and spread on the paper surface, reaching a certain depth. Into a pen shape. The strength of the strokes should be appropriate. If it is too heavy and the brush strokes are spread too much and the time is long, fat stippling will appear.
Squatting pen: The pen stroke is like a stroke, but the force is lighter than the stroke. The timing is between exertion and no exertion, and the stroke is faster than the stroke.
Pen setback: means to lift the pen slightly after stopping it, so that the tip of the pen rotates slightly away from the stopping point. It is mostly used at the turning points of strokes.
Jinbi: The tip of the pen goes away and then goes back.
Folding pen: refers to the pen tip being reversed upward or downward, left or right. The folding edge can be square or round. If it is folded squarely, square edges will appear; if it is folded round, the edge will not be exposed and it will become a round turn.
Pen rotation: refers to the rotation of the pen edge. When turning, the edge is hidden and the sharp edges are not exposed.
Turning the pen: refers to taking advantage of the momentum to flip the pen to the second stroke before the first stroke is completed, from horizontal to vertical.
Wringing the pen: refers to twisting the tip of the pen.
Running pen: Indicates that the pen is moving forward.
Standing the pen: Do not mention or pause, do not turn or move, the tip of the pen touches the paper, and stops to gain momentum.
The aesthetic space of regular script
Yan Zhenqing’s regular script is like a loyal minister and martyr, with Guan Yu sitting in the hall. It reminds people of Yan Zhenqing's awe-inspiring righteousness when he wrote the "Notice for Fighting for Seats" to maintain order in the officialdom. It also reminds people of his cousin Yan Gaoqing who did not hesitate to have his son Yan Jiming beheaded by the rebels and his tongue to be cut off by the rebels during the Anshi Rebellion. Indomitable and unyielding (this is the origin of "Yan Changshan Tongue" in Wen Tianxiang's "Song of Righteousness"). Yan Zhenqing, who was over 70 years old, refused to give in in the face of the intimidation and inducement of the rebel Li Xilie until he was hanged, becoming a model of the integration of book quality and character. Yan Kai's integrity, strength, generosity, and strictness are certainly objects of aesthetic appreciation, and his personality cultivation is even more touching. No wonder Fu Shan educated his descendants to read Lu Gong's exegesis before studying it.
I noticed a huge picture of China showing its image in the United States a few years ago. In the picture were three or five graceful female stars, with the thin gold-style regular script of Zhao Ji, Emperor Huizong of the Song Dynasty, in the background. I admire the brilliance of the makers for injecting traditional Chinese cultural elements into the promotional posters. The charming female stars and the beautiful thin gold calligraphy are integrated into one, which shows the charm of Chinese calligraphy. I support calligraphy going to the world in Tang suit, showing tradition and orthodoxy, including promoting regular script classics.