Wen | An Xiang
After writing the article "There is a hole in the sky (the amazing change of horizontal painting)", I found that I missed a very important point in Mi Fei's horizontal painting, that is, his horizontal painting is full of twists and turns: when Mi Fei writes horizontal painting, there will be twists and turns in the long horizontal painting with the change of context and font. How do you understand this?
let's take a look at some horizontal paintings with one painting and three folds.
< small> The word on the right side is the first horizontal, and the pen is started along the front, and the pen is drawn from coarse to fine, forming an exaggerated small arc. After receiving the pen, it is recovered in the opposite direction, which leads to the next vertical painting, which is very clear. < /small>
< small> The first horizontal line on the right side of the word can be picked up to the right after starting the pen along the front, and a curve appears, and the pen is recovered and pulled back, showing a wave of twists and turns. < /small>
< small> The yellow character is the second longest horizontal, and the pen starts against the front, and the right line is slightly radian, showing a backward trend with the first horizontal, and the pen is drawn back to lead to the next vertical. < /small>
< small> There is no word in the long horizontal line, the pen is exaggerated, the right line presents a long arc, and the pen is slightly curved back to the front, which leads to the next stroke. < /small>
It can be seen that in the process of starting, closing and writing, Mi Fei fully exaggerates the reverse movement and recovery movement, forming a curve effect in the process of starting, closing and even writing, which can be described as a three-fold painting and has become a major feature of the pen used in Shu Su Tie.
To understand Mi Fei's three twists and turns, we must first understand two concepts, namely, strokes and gestures. In the process of continuous writing, the brush sometimes presses down to walk the paper, forming solid lines, which we call strokes; Sometimes the pen walks in the air, but it is not implemented in pen and ink. We call it a gesture. Therefore, when the stroke is lifted and pressed, the movement of the stroke may leave a short line on the paper during the operation of starting, walking and closing the pen, which is especially obvious in running script. This is the so-called tie thread. Mi Fei's handling method of long horizontal stroke is that in this kind of lifting and pressing, through the action of "no drooping, no shrinking, no closing", on the basis of emphasizing the pen posture and the front posture, he used a firm hard brush to complete the artistic presentation of a painting with three folds.
This kind of treatment of "one painting and three folds" is like singing and three sighs in the aria of Beijing Opera, which has infinite artistic charm and makes people feel deeply moved by watching (listening to). But it is not easy to write this picture well. Grasping the rhythm, matching the shape, the size of the radian, the tension of the speed, the control of the pen tip, etc., all require the book furniture to have a certain pen skill, and it needs a moderate exaggeration of beauty, rather than a vulgar publicity. Mi Fei's strong calligraphy skills, coupled with his artistic accomplishment of being a scholar, make his three-fold lines look full of vitality and intriguing.
In fact, this kind of three-fold painting is not only in horizontal painting, but we will discuss this kind of pen-using phenomenon again in other strokes summarized next.
(to be continued)
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