Appreciation of master's calligraphy works
Figure 1 calligraphy works of Fuzi running script
Fig. 2 Fu Zi's calligraphy works.
Fig. 3 calligraphy works of Fu-character running script
Fig. 4 calligraphy works of Fu-character running script
The trend of running script calligraphy
Taking advantage of the situation is the calligrapher's design and shaping of the situation on the basis of the configuration of characters, and it is the comprehensive artistic processing of characters. Although running script and regular script are two kinds of fonts, they are interlinked and similar, and the general requirements are the same, that is to say, the basic principles of regular script described in the previous chapter are also applicable to running script. The running script is between regular script and cursive script, and its pen shape and configuration are characterized by large span and many variants. Therefore, compared with regular script, it provides a broad space for calligraphers to change freely, and calligraphers can use various methods or comprehensively use different methods to change and change. Below we will introduce some of the most commonly used methods to take advantage of the structure and changes of running scripts.
One is local grass, that is, when taking advantage of the structure, a certain part or related part of the character is intentionally and appropriately stippled, so that the local part of the character approaches or becomes cursive, and the general outline of the rest and the whole character remains basically unchanged. For example, the words "Ding", "New", "Water" and "Flower" are typical of local grass planting. "Ding" and "Xin" grass the components of "Zheng" and "Jin" respectively (although the left part of the new words has it, it has not changed), while the relevant parts of "water" and "Hua" grass are stippled. This kind of running script with some grass is called running script. Running cursive script is naturally different from running cursive script, because it combines the components of cursive script.
Second, lean on your side. In the calligraphy works of ancient calligraphy, we can often see such a phenomenon: some words are written smoothly and correctly, while others are written askew. Look at the first few lines of Wang Xizhi's funeral notes. Many words are inclined to varying degrees, and some whole words are inclined, such as "tea", "unique" and "pain". Some of them are partially inclined, such as "poison" and "time". If these words are picked out, they may not all be beautiful, but in a specific space, they can not only show different gestures and expressions from other words, but also enhance the vitality and vitality of the word group, and form a mutual echo, mutual support and integration relationship with adjacent words, thus deepening the artistic conception of the work. Taking advantage of the situation is one of the characteristics of running script calligraphy, a special need to activate the format and change the composition, and also one of the means for calligraphers to express artistic interest.
We should pay special attention to two points when changing the body potential from the side. First, we must grasp the inclination, not too much to lose the center of gravity, but stand sideways; Second, we must form a certain echo relationship with the surrounding words, and we must not be biased towards it. Beginners should observe the excellent works of sages, carefully analyze and appreciate the mystery, and make some necessary imitations before creation.
Third, light and simple, this is a way to change the trend by using the difference between light and heavy, complex and simple. The same word has the same configuration and size. If we write it in two different ways, the appropriate situation will be very different.
If the number of stippling of the same word keeps increasing, the body posture will be very different when writing with Lian Bi tie or without Lian Bi tie. For example, the word "fu" is used a lot, and one is basically not used. In this way, the former looks lush, intricate and beautiful, while the latter looks simple, lively and handsome. The two styles give people completely different aesthetic tastes.
Fourth, indulgence and convergence, which is a way to change the trend through the deliberate indulgence or convergence of stippling. The stippling brush of running script has great freedom to change, so we can make full use of this feature when we follow the trend, or highlight the related stippling appropriately to make it more conspicuous and ornamental; Or deliberately tighten some stippling, so that you can collect it. If the same word uses these two methods to gain momentum, it will easily lead to two completely different situations. Let's take a look at the last stroke of the "teacher" in the picture. It is almost as long as the vertical strokes of the first two strokes, and the characters are flat and undulating. The first two strokes of a pen are particularly shortened (changed to vertical points), and the last stroke is relaxed, forming a strong contrast between vertical pens and vertical pens, and the word potential is elegant and elegant. The word "home" will turn extroversion into a short point, try to restrain it, and the other will naturally expand. Introverts have a feeling of reunion, while expansionists tend to make public. The words "in" and "in" are also used in the same way, using different interests.
Five, Fiona Fang to the back, here the so-called Fiona Fang, refers to the shape of the figure's external contour. In the structure of running script, the outline of some words can be treated as square or round. The so-called back-to-back refers to the relative situation of strokes or components on the left and right sides of Chinese characters, which are different from each other, different from each other and different from each other. You can change this situation according to your needs when you follow the trend. Therefore, using this unique way to deal with Fiona Fang's back is also an effective way for calligraphers to change and gain motivation. For example, the words "thing" and "de" are obvious. In order to achieve a round and vivid figure, not only the horizontal folding on the right side of the word is changed to a round pen, but also the stippling on the other two sides tends to be round as much as possible. Two "open" characters, one with long vertical paintings on both sides, face to face, and one face opposite; Two words "destroy", one with the left and right parts and the other with the opposite meaning. The back is different and the body is very different.
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