The first sentence in the autobiography is "Huai Su lives in Changsha": "Huai Su" and "Changsha" are two groups of "direct components" in grammar, so they are Lian Bi, and the word "home" is out of touch with the upper and lower words. Besides, multi-word phrases, such as "Zhang Li Bu" and "Wu Zhangjun Xu", have a large number of words. In order to carry out the tone, they are all linked and fully reflect the grammatical structure.
Huai Su's two brushstrokes of "borrowing a pen to tie a thread" and "intricate size" can be cited as examples, such as "You Ji" and "current". Is an example of two consecutive sets of tapes. In the word "You", the last stroke of the upper word "You" is a point in the upper right corner, and the first stroke of the lower word "Ji" is a horizontal starting point on the left, which is far away, but a fairly long diagonal line ("borrowing pen") is drawn as a draw. Look at the word "flow" again. The last stroke of "electricity" is a tick on the far right, and the first stroke of "flow" is a bit on the far left, which could have been a string. But the last tick of the word "electricity" was hooked, and its potential was inconvenient. I simply turned my pen to the left and connected it with the first stroke of the word "flow". Therefore, the spirit of cursive script lies in "focusing on potential", and such a continuous or reflective band basically obeys the grammatical structure.
For the examples of "large and small" and "no lines and no columns", such as "real is not empty and thin, dare to do it", the original five or six words per line, and the eight words "real is not empty and thin" suddenly enlarged, accounting for three lines. Not only is the size complicated, but the itinerary is also very uncoordinated. The word "Dai Gong" occupies a whole line, which is not only out of line, but also very different in size. Huai Su's autobiographical post is his masterpiece, with 702 words and 126 lines. Delicate, in one go, really like a dragon and snake walking, exciting thunder, is a round and smooth calligraphy art.
The structure of self-described posts can be understood from the following points:
(1) Take the circle as the square and combine Fiona Fang.
Huai Su's Wild Grass not only used a lot of round pens and lines, but also used round characters composed of round pens and lines. Chinese characters are based on squares, such as big seal script, rectangular official script, square regular script, cursive script and so on. However, with the emergence of modern grass and big grass, the square shape has been broken and tends to be round because of the high frugality of strokes and the acceleration of pen lifting speed. Especially through the exaggeration and ingenious creation of Huai Su's romanticism, the modeling of his calligraphy has reached a refreshing feeling. In autobiographical notes, some characters with no frame, such as "Comment", "Man" and "Doubt", have shaped a circular glyph, which is a creation of Huai Su.
However, no matter whether it is a single character or a combination of characters, no matter how the length, density and irregularity of stippling change, it always changes from a square, so there is a square in a circle and a circle in a square, and Fiona Fang is used interchangeably. Because there is a square and a circle, there is no circle without a square, so if there is a square in the circle and a circle in the square, it will be more obvious, and motion and stillness also exist relatively.
(2) From broken books to disintegrated books.
Wang Xianzhi's tattooed calligraphy dares to break the shackles of his father Wang Xizhi, and break the general methods of square and white. And Huai Su's Wild Grass is the way to break Wang Xianzhi's previous white cloth and honest and frank. Huai Su's zigzag layout, from word to word, from line to line, staggered up and down, staggered left and right, and alternated in size, greatly expanded the range of "hovering in the air", broke the shackles of "broken books" and entered "disintegrated books" from "broken books". The so-called "disintegration" is to fundamentally break the previous physical situation and all the methods of formation, and integrate the seal, the official, the truth, the line and the grass into one furnace. He created his own unique new cursive script, the so-called wild grass.
(3) Don't stick to the rules and win by risks.
Huai Su wants to break the general methods of paving white, such as: flat, square, vertical ranks and so on. And what is more striking is that between words, it is uneven and strewn at random, and the size wins by risks.
Huai Su used a variety of artistic techniques to make it colorful:
(1) Big break and big stand. Huai Su boldly overstepped the rules, but at the same time he was somewhat unconventional. Breaking and standing are also relative. Sun's Book Score said: "Beginners seek righteousness, then know righteousness and pursue danger, then they can avoid danger and return to righteousness." The first level is just a rule, and the danger is a break. As for the second level, it is the new legislation after the break and the new balance after the crisis of calligraphy. Stand without breaking, stand with stability, and break with danger. Only by breaking and standing can we have unlimited scenery.
(2) Big sparse and big dense. The arrangement of density changes in white cloth is an important topic of concern to Huai Su. For example, the word "lai" in the word "drunken letter hand" is vertical, accounting for almost half a line, which can be described as large and sparse; The other three words only account for half a line, which is a great secret, that is, every line has truth, and there is truth in the virtual.
(3) The layout of the text has both changes and unification. The arrangement of words and lines in "Self-report Post" has both changes and unity, and has a global view. The stroke thickness of Chinese characters is different, the font size is different and the size is staggered. To arrange them somewhere, we must find the right words and lines. Words can be connected up and down, but not with strokes, but with meanings. To be "energetic", we must prevent words from sticking together and be lively. The so-called vitality means that it can not only "connect the preceding with the following" but also "make a difference", connecting and flying. Break the meaning of the pen, break the potential of the word, break the line and get the gas, and be more energetic. For example, the word "Lai" in the line of "drunken letter hand" has a long vertical connection, which can always be said to be a connecting link between the preceding and the following. Adding a few apostrophes in the middle makes this word the finishing touch in this line.
(d) Exaggeration and distortion, all kinds of contention.
Huai Su greatly changed the Fiona Fang, size, orthography and other changes in the cursive structure, boldly exaggerating the deformation and striving for change. For example, the size of words changes, and sometimes even the difference between two words connected up and down is three to five times or even ten times. Another example is the change of length, and some glyphs are stretched to two or three times the width. This change is characterized by "unity" and "harmony" in the change, reaching "violating without committing crimes, harmony without differences", which is changeable but harmonious and unified.
In a word, the font structure and layout of Huai Su's "Self-Narrative Post" adopt the methods of alternating size, density and contrast, and the virtual and the real are inclined, which often makes each line of characters deviate from the central axis, resulting in the risk of ups and downs, from breaking the body to disintegration, breaking the old balance, thus creating a cursive image full of new ideas. Huai Su made use of various changes in the shapes of points and lines, as well as the Fiona Fang, dry-wet contrast and clever cutting of blanks with his pen, which made calligraphy have a musical rhythm, and made the viewer and the calligrapher's heart sing together, share joys and sorrows, and * * * bathed in the rhythm of calligraphy. Huai Su's Wild Grass is a classical romantic calligraphy art, which has been appreciated by people for thousands of years. Cursive script sprouted from scribbled official script. "Shupin" said: "The grass trend began in the Han Dynasty, and the dissolution of the official law made it urgent." The five-year weapon book of Yongyuan in the Eastern Han Dynasty is the abbreviation of Cao Zhangti, an official script. Lishu writes much faster after omitting strokes and tick marks. After artistic processing, it gradually developed into a book with a goose tail, which is the so-called "Cao Zhang". Since the emergence of regular script in Wei and Jin Dynasties, cursive script has developed into a "modern script" on the basis of regular script and new books. In this grass, each word is independent, called grass or single grass, such as Zhiyong's "A Thousand Words in Cursive Script". In the middle Tang Dynasty, Zhang Xu was sketching, and his strokes were concise and clear, and every word was intertwined, even every word and line, which made him feel at ease. Huai Su's subsequent brushwork is more swift and unrestrained, and the upper and lower characters run through it continuously. This kind of calligraphy is called "big grass" or "crazy grass". Huai Su's autobiographical post is one of the representative works of Kuangcao calligraphy. The artistic features of "Self-Narrative Post" are fully displayed in the original text of "Self-Narrative Post" with the help of sages and the public. The artistic power of classical romanticism in the works is intoxicating. From the analysis of his pen use, structure and composition, let's look at Huai Su's pen use first. Zhang Xu took it from Li with a pen, so he folded it more; Huai Su changed to study seal brush, because it is round, especially good at bending the brush, which is varied and flexible. For example, the line 1 18 is sharp, and the line 120 is solid but not empty, which is as strong as steel wire, thin and solid, creating a new look of cursive brushwork. Liu Xizai, a calligrapher in the late Qing Dynasty, once said, "A good calligrapher prepares books quickly." . Huai Su's essay flips and jumps, changing with the situation, really reached a superb level.
Secondly, talk about the structure. Compared with Erwang and Zhiyong, Huai Su's cursive structure has a lot of inheritance, and there are many identical characters in the text, all of which are similar. Because of the fast writing, the number of words is not completely simplified according to the established principles, and "cursive brushwork" is inevitable. If there is no definition, some words are really difficult to identify, such as "Wei" in line 31 and "Ju" in line 47.
Looking at the composition, the whole work, the novelty of composition is unprecedented. In the first two-thirds of the length of the work, the author takes his time, uses the pen of a long snake, walks without columns, and is natural and unrestrained, showing the concise, transparent, quick and agile temperament of wild grass calligraphy. On the twelfth piece of white linen paper, the word "Dai Gong" in line 105 suddenly stands out from the crowd, occupying three and a half lines horizontally and four to five lines vertically in the previous article. The word "Gong" is smaller and flatter than ordinary characters, which has formed a strong visual impact. May be Huai Su drunk attack, entered the peak of emotional excitement. At the last ten lines, there is no line. The image of a drunken monk who is "crazy and despises the world" jumps from the page, bringing readers into the artistic realm of being drunk and dreaming of death.