In this Fang Bi tone, the left arc of the painting flies alternately, which makes Jun Fang flexible, but not rigid.
The structure is dense, the studio is almost airtight, and the middle palace converges, but it is not stiff. Why is this? The reason is that each stroke has its own beginning and end, and it is independent and complete, so it is still sparse. The so-called "secret meaning" in the twelve meanings of brushwork is proof. Although this statue is limited by the grid, there is no limit to the size of words. By drawing long and large strokes and horizontal strokes, the momentum is extremely open. In the combination of lines, we pay great attention to the trend of interleaving, avoidance and line changes with time.
Compared with other steles, this stele has many special features: (1) This stele adopts positive engraving method, which is unique to stone carvings in past dynasties. In the Northern Dynasties and even the whole stone carving system, the carving method was mostly negative carving, which saved time and effort. However, it is very rare that the full text of this monument is engraved in Yang, word for word. ② There is an inscription on the statue. Generally speaking, statues are mostly accessories of Buddhist niches, and most of them are carved at will. Chisels are mostly from folk crafts, and calligraphy is mostly amateurs. Therefore, this is a work that can be done hastily, and there is no need to allocate books like a formal inscription. However, this monument has a strict Yang Wenzheng book, "The First Public Statue Area". (3) signature at the end. In the cliff system of the Six Dynasties Monument, it is rare to see the act of allocating funds (of course, Longmen Twenty Paintings includes its columns), but the author and author are impressively listed on this monument, plus the publishing time, which constitutes a complete calligraphy creation of the North Monument. Therefore, Zhu Yi Zhang, together with (the author of Diao Bigan Monument), Xiao Xianqing (the author of Sun Qiusheng's portrait), (the author of Shimen Ming), Kou (the author of Song Gaoling Temple Monument) and Zheng Daozhao (the author of Zheng Wengong Monument), left a story about the north to future generations.
This monument is a typical representative of the vigorous calligraphy style of the North Monument, with Fang Bi as the main figure. Through learning, we can strengthen their courage, strengthen their bones, strengthen their strength and develop their potential, which has many benefits. Pay attention to be good at using the front when learning, such as opening the pen to expose the front, splitting the hair, closing the front and closing the pen, and connecting the pulse. Attention should be paid to the effective control of lifting pressure, that is to say, the same pen-rewriting time should be supplemented with a thin pen, and the same Fang Bi time should be supplemented with a small amount of round lines.