? Generally speaking, we write regular script in the same order as succession. However, compared with regular script, running script also has a speed, which is neither fast nor slow, and it is a rhythm of alternating speed. Only by mastering this rhythm can running script be called a real introduction.
? The problem of qi in calligraphy refers to the continuity of upper and lower characters when writing, which is a connection between qi and rhyme. What I mean here is that when writing a running script, its word size is different, and strictly speaking, if a calligrapher is good enough, then he writes the same poem and writes it in lines. 1 time should be different from the second time, which is the highest enjoyment for us to appreciate calligraphy.
? We don't attach importance to this situation. Some calligraphers have to write every word dozens of times when creating, and then choose the most beautiful word to add up. In this case, they lost the charm of nature.
? The third is scale. The running script characters cannot be the same size. We must pay attention to the inside, and we can't form fixed patterns such as size, size and thickness, which is also unnatural.
? The fourth question, we will say that running script is relative, and he pays more attention to the connection of strokes. This aspect can be illustrated by collecting the preface of Wang Shengjiao, as well as the Diamond Sutra and the Half Monument of Guangfu Temple, which are all better words left by Wang Xizhi. But we have to say, after all, he didn't write it himself directly, so the overall running script and composition should be problematic, especially for monk Huairen.
? Sometimes there will be a word with a strict regular script above it and a cursive script below it. Sometimes the word 1 is still a standard running script, and the second word becomes a cursive script, or even a complete cursive script. This feeling is not good.
? When students were studying the Preface of Words, they read it several times, and we can see that there is a particularly good part in it, that is, the Prajna Paramita Heart Sutra, which is basically more than 200 words and is very coherent.
? In addition, after all, it is a collection of original works of maize, which is basically perfect. We should start with his calligraphy, so some students asked why we didn't learn the original ink directly. For example, we take Zhao Mengfu as an example. We think that what this encyclopedic genius can do is to surpass the Tang Dynasty and enter the Jin Dynasty. In fact, if we compare his ci with Wang Xizhi's, we will find that Wang Xizhi's ci is more natural. But we do some analysis on brushwork, and with the same words, we can clearly see that there is a big gap between the two. We can compare and analyze the word "yes", because both of them have written it, so it is easier to find it. This is also why we advocate starting with the preface to the sacred teachings.
? Next, in the words of teacher Zhang Xuguang, it is basically true to learn ji zi's preface first, then his handwriting, and then learn some later calligraphers, such as Zhao Mengfu and Wen Zhiming, leaving a lot of ink.
? First reach the highest point and strategic position, and then learn from these first-class calligraphers, so as to achieve a unity of brushwork. So in the final analysis, there is indeed a faster learning method.
? Let's look at Professor Yu Zhonghua, a doctoral supervisor of calligraphy at Zhejiang University. This is what he wrote in the video. Every running script word is so-called disjointed. Then every time he finished writing the word 1, between the last stroke and the 1 stroke of the next word, he wrote in the air. The book was empty and looked funny. Actually, this is an expert. When we get used to it, we will find that this is a better method. After writing on paper, you often can't see all the strings. They were hidden in the air and troubled the Qing Dynasty. Can you understand?