What are the characteristics of Huang Tingjian's running script?

Huang Tingjian's calligraphy style is obviously rebellious. When we compare northern Song Sijia from two dimensions of creative consciousness and innovative consciousness, we will find that Huang Tingjian's calligraphy is at the most rebellious and cutting-edge end compared with the most classical in Cai Xiang. This rebellious character can be found in almost all his books. In the long history of calligraphy in China, it is almost impossible for us to find other calligraphers with rebellious character and innovative consciousness. Generally speaking, Huang Tingjian's calligraphy lines are sharp, refreshing, dynamic, imposing, stormy and unpredictable. Knot is an unprecedented fluctuation trend, uterine contraction is "radial" and the lines are full of "energy". Although we can't accurately judge whether "radiation" and "vitality" in ancient comments are praises or denials? But one thing is certain, that is, his works are full of strong self-expression consciousness and extremely free and unscrupulous creative consciousness. It is precisely because of Huang Tingjian's restlessness, lack of restraint and neutrality in stippling, on the other hand, it also highlights Huang Tingjian's success, which is first reflected in his book style as a creative paradigm. Looking at Huang Tingjian's ink handed down from generation to generation, we think it can be roughly divided into three categories. The first category is his large font running script, such as draft poems and classic works, with a word diameter of about four or five centimeters. It is the most famous type of Huang Tingjian's works, and it is the concrete expression of Huang Tingjian's work which focuses on work, such as Song Fengge's Poems, Hua Yan Shu and Han Shanzi's Poems of Fugu Vulgar. The second category is long cursive scrolls. Judging from several masterpieces handed down from ancient times, their specifications are generally as high as 30-40 cm, and the longer one is 17-8 m. Their previous lives are unknown, which is rare in later generations, such as Zhu Shangtie and Li Bai's "Poems of Love" and "Biography of Lian Po and Lin Xiangru". The other is Huang Tingjian's letters, manuscripts and postscript, which the world calls the fine works of Huang calligraphy. Among them, there are many wonderful works, such as Su Shi's Poems and Postscripts on Cold Food in Huangzhou, Letter to Qi Jun, Hua Qi Tie and some epitaph manuscripts. Huang Tingjian (1045—1 105), a Taoist in the valley, was named Lu Zhi. Hongzhou is a native of Fenning (now Xiushui, Jiangxi). In the first year of Zhiping, he was a scholar, transferred to the governor of wild county, collated by officials, collated by gods, moved books, and collated by sages. After the record was finished, it was promoted to a living room. He is also a national history editor. Shao Shengchu came to know Xuanzhou and changed to Ezhou. Later, because Zhang Dun, Cai Bian and their followers made many false statements about a record, he was relegated to Fuzhou and Ganzhou for resettlement. After Hui Zong acceded to the throne, he was called Yuanwailang of the official department. He left without saying a word and learned about the Taiping government. Later, he was removed from his post and took charge of Xuanzhou. Three years, moved to Yongzhou, I don't know life and death. Like many outstanding great literati, his fate in officialdom is not good, but his talent in writing and calligraphy is very high. Huang Tingjian's position in the history of China's calligraphy style and its morphological significance, especially the morphological orientation of cursive script, are mainly determined by his pen-using characteristics. The vertical and horizontal artistic features of his spear and halberd not only strengthen the personal style of "Gu Ti" calligraphy, but also make it gain an unparalleled important position in the historical sequence of calligraphy style. Strictly speaking, for Huang Tingjian's contribution, we prefer his brushwork to his calligraphy and composition characteristics. Huang Tingjian is knowledgeable, excellent in poetry and calligraphy, and his calligraphers are Yan Zhenqing, Huai Su and Yang Ningshi. It is worth noting that since Zhang Xu and Yan Zhenqing revived the ancient method of using the pen in the center, many calligraphers in the Song Dynasty tried to revive the pen in the center to change the pen used by the two kings. However, Yang Ningshi studied Ou Yangxun and Yan Zhenqing; Dongpo's calligraphy is more than Yan Zhenqing's, Xu Hao's and Cai Xiang's, which is a typical "Wang Shu's" sequence, so there is no big breakthrough, except that Huang Tingjian advocates high wrist pen, pen heart and calm brushwork. Therefore, although pornographic books are strange on the whole, we can still find elegant and refreshing artistic beauty from them. Huang Tingjian's view of using pen is very unique. He believes that "the ancient calligraphy is no different, but it can be used as a pen ear", "the front is in the pen, and the intention is in front of the pen", "the heart can turn the wrist and the hand can turn the pen". Only in this way can we have the artistic effect of "wonderful writing". Reading Huang Tingjian's theory and practice of using pen, we can find that his characteristics of using pen are manifested in the handling of the relationship between Zhang and delay, Zhang and frustration. His writing speed can be summed up by the word "leisurely". Although Amin Wang Shizhen said that leisure is a "chronic disease" for the elderly in the valley, we believe that this "chronic disease" is not a "disease", but should be one of the characteristics of Huang Tingjian's writing style. It's just Su Like Dongpo's book "Stone Crushing Toad", in which the "disease" is actually very clever, and the disease in the valley is unique. This strange phenomenon is normal and reasonable in the field of art. However, from another perspective, Huang Tingjian's "chronic disease" is not everywhere. For example, the long grass scroll in his later years is the best disproof.