The abstract concept of modality in cursive script is rooted in the deep soil of China culture. The concepts of harmony between man and nature, impossibility, and intention to write first affect the development of calligraphy art, which is the abstract concept of modality in cursive script. Here I bring you the calligraphy cursive script. I hope you like it. Appreciation of calligraphy in Luo-character cursive writing
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the art of cursive writing
The way people study cursive writing today is different from that of the ancients. For example, Wang Xizhi turned the method of using a pen into a subconscious expression. When writing, there is no need to think about the brushwork. When writing the tape of one word and the next word, there is no need to consider whether it is reflected here or not, and how to connect the previous one with the next one is also unnecessary. From the analysis of cabinet posts and letters, we can see that they are really relaxed, or writing in a dull and painful state, and their mood is different. However, in the process of writing, he will never consider how to write this letter or a handwritten note. This is Wang Xizhi's situation. Look at Huai Su again. Huai Su completely transformed his skill into a subconscious gesture. He passed very strict intensive training, such as writing on a banana leaf. He has been familiar with the cursive brushwork to the point where he doesn't need to think. Otherwise, how could it appear? Suddenly, it's called three or five times, and the wall is full of words? This is an externalization of inner excitement, an expression of passion, which is impossible to think about techniques. Therefore, whether Wang Xizhi or Huai Su, their writing state is different from that of modern people.
It's different since Wang Duo. Wang Duo has regarded cursive script as a kind of expression. Although he has adopted an extreme romantic expression, he has his own thoughts when dealing with it, and treats it when writing. There is a work, a cursive script of Zhang Zhi. When you analyze it, you will find that his cursive script looks like a book, which is very wild. When he expands the cursive script into a big one, it is impossible to complete it in one stroke. He uses the pen to pick it up. In the cursive script near Zhang Zhi's post, there are more than a dozen places to pick up the pen. When picking up, he doesn't use smooth sequential method. For example, in a brushwork, he always connects the two sides smoothly, using the method of misplaced elder sister, which is a skill of Wang Duo. Careful observation of his original works will reveal this problem. Because he is pushing hard, if not, it will be difficult for him to make a smooth transition. In this case, he can only make a lap joint, and it is a staggered lap joint method to increase the change of lines. If the lines become thicker and the font becomes larger, or if it is connected in sequence, it will be dull. Wang Duo used the method of staggered overlapping when dealing with it. This was discovered by Mr. Wang Yong while studying Wang Duo's works. Moreover, in order to increase the amount of his own fonts, Wang Duo consciously reformed the ink method. When Xu Wei was writing a large cursive script, in order to make his words more effective, he strengthened the rich changes in the lines, and the setbacks were more obvious. Compared with Wang Xizhi and Huai Su, their setbacks were more fierce. These were some skills and methods of Xu Wei's handling.
People in the Ming Dynasty were like this. Today, when writing cursive scripts, the changes are even more different. Because the conditions are different now, it has more abundant information than the ancients. For example, the three basic systems in calligraphy, namely, brushwork system, ink method system and composition system, are different in research. The study of Mohism, and even the study of Mohism inherited from Huang Binhong to Lin Sanzhi, is different. What should we learn from the use of water and ink? This is a problem that people are considering today.
in a broad sense, cursive script comes into being when there is a script. Today's cursive script has been developed along a more flowing, more convenient and more written path. Therefore, cursive script contains the sum of all the brushwork from seal script to official script. For example, Zhangcao is transformed from official script and seal script, not only from official script, but also has many components of seal script. Wang Duo has this kind of consciousness. He read two things when writing cursive script, and he must have the implication of seal script and official script. What should you do if you want to enter the exhibition hall and take up the wall of the round hall of the whole art museum like Wang Dongling? You must add some other ingredients to the cursive script. For example, when Wang Yijun was writing a cursive script, he spread the paper on the ground and took off his shoes to write. However, in the process of writing, the application of his brushwork, when expanded to a large scale, was intentional, not like Wang Xizhi, not like Huai Su, who was trained and very familiar with writing. Therefore, Wang Yijun is interested in pursuing the charm of Jin people. In his pursuit of this kind of sentiment, how can he embody it when he is expanding into a big one? He thought more about ink painting. Because the brushwork is simply enlarged, what should I do if I want to enrich it? Just work hard on ink painting. Use Anhui Su Mo to make it ink-increasing. These are some factors directly extracted from Wang Duo and Huang Binhong's paintings. Only in this way can we ensure that such a big word has rich changes and connotations. Therefore, cursive script has developed to this day, and more materials have been used, and the method used is to deliberately absorb something. What's more, today's materials are not only cursive, on the ground, underground, classic, folk, so many things.