The characteristics of pen regular script regular script is the main style of Chinese characters. Kay, model, standard font. Pen regular script has the following characteristics:
First, pay attention to the pen.
Pen regular script strokes are Teton, Hidden Dew, Fiona Fang, Fast and Slow, etc. Different ways of using pen will produce lines with different shapes and textures, and different lines need different ways of using pen to reflect them. Pen regular script font is small, and the line thickness does not change much. If you don't pay attention when writing, the strokes will not meet the requirements, and the strokes will be weak, stiff and stiff. So you must go through strict training to master the method of using a pen.
Second, the strokes are clear.
Pen regular script should be clearly explained in terms of the starting and closing of each stroke, neat and standardized, clean and tidy, and should not be scribbled or adhered. However, there must be an internal echo relationship between strokes, so that strokes can be orderly, clear, solid and powerful, stop and keep, straight but not stiff, curved but not weak, smooth and natural.
Third, the structure is square.
Pen regular script emphasizes balanced distribution of strokes and radicals, stable center of gravity, appropriate proportion, correct and standardized font. The characters should be arranged together, with symmetrical sizes and neat lines. Although there are also uneven changes in shape, it is still relatively neat as a whole.
It is precisely because of the above reasons that many calligraphers in the past dynasties advocated regular script as the first step in learning calligraphy. The current Chinese syllabus for nine-year compulsory primary schools requires students to learn to write regular script with pen in primary school, lay a good foundation and create conditions for writing regular script in middle school. Practice has proved that only through systematic practice of regular script can we understand the characteristics and requirements of strokes and structures of Chinese characters, master the combination rules of Chinese characters, lay a writing foundation for learning to write regular script, and thus practice fluent and natural running script and cursive script.
To practice regular script, we should work hard on strokes and structure. Practicing strokes is mainly to solve the problem of using pens, with the aim of creating qualified "parts"; Practice structure, mainly to solve the combination problem of strokes and radicals, with the aim of learning structural methods, mastering structural rules, and achieving the requirements of correct, neat and beautiful writing.
The characteristics of regular script mainly include the following three aspects:
① The strokes are straight, the structure is neat, the workmanship is better than stippling, and the charm is better than structure. Honesty without stopping, neatness without informality. The ancients said, "Opening a mold is like running a horse", "Big characters are hard to be seamless, and small characters are hard to be generous." The important thing is to fly cleanly.
(2) The strokes develop regularly, forming the "eight-character method of eternal characters". It is both a writing method and a writing method. All strokes of regular script are summarized in eight methods. Each stroke is not isolated, but echoes other strokes. The eight strokes of the word Yong have their own names according to their positions, so I won't repeat them here.
(3) It is a typical regular script writing method to start and put pen to paper with three folds and move around the pen. The ancients said: "It is really useful to fold more ... If you want to stay less, you will be strong." The pen center is more sleek.
The origin and characteristics of regular script;
Also known as "true script" and "official script", it originated in the late Han Dynasty and used the advantages of official script and cursive script to form fonts. On the one hand, regular script absorbs the advantages of symmetrical structure and clear strokes of official script, and also absorbs the simple spirit of cursive script; On the other hand, the irregular meandering structure of cursive script is corrected, and the zigzag pen shape of official script is changed to straight, and the square flat shape is changed to square. Therefore, for cursive script, regular script is to turn grass into righteousness; For the official script, it is to simplify the complex. The appearance of regular script marks the final finalization of Chinese characters into square characters. With the permission of ideographic system, the unity of conciseness and beauty is realized to the maximum extent. The strokes and strokes of seal script and official script are simplified, and the font is clear, easy to distinguish, the strokes are symmetrical and the style is harmonious. Regular script is the standard font of modern Chinese characters. Common printed regular script includes Song Dynasty (old Song Dynasty), imitation Song Dynasty, long imitation Song Dynasty, regular script, boldface, and various font sizes.
Regular script is one of the main calligraphy styles in China, also known as regular script, regular script, regular script and regular script. Because it is square, it is named model. It came into being at the end of Han Dynasty and prevailed in Wei, Jin, Southern and Northern Dynasties. The Tang Dynasty was the golden age of regular script. Regular script is gradually degenerated from official script after a long period of development and evolution. As early as the Eastern Han Dynasty, we could see some regular script on bamboo slips, silk books and utensils, and the square characters in Xiping Book of Songs and Zhang Qianbei's square strokes actually started regular script.
The characteristics of regular script, on the whole, regular script is rectangular, the structure is closer than official script, and the pen is also very rich and delicate. Writing behavior is also more flexible and convenient than official script. Since its establishment, regular script has replaced the orthodox position of official script. After long-term trial, it is proved to be a script with good combination of practicality and artistry. It has been the official font adopted by the government for thousands of years, and it has also become a big one in the history of calligraphy. We often say "truth, grass, official script and seal script", and regular script is the first of the four. Zhong You should be the first person to contribute to the creation and establishment of regular script.
Small regular script
Lower case, as the name implies, is a kind of lower case, which was founded by Zhong You in the Wei Dynasty of the Three Kingdoms. He is the most outstanding authoritative official script master, and his regular script style is also born out of Han Li, and his brushwork is very vivid. However, the structure is wide and flat, the horizontal painting is long and the vertical painting is short, and the legacy of official division still exists. However, the model method is ready, and it is actually the ancestor of the official book. When Wang Xizhi came to the Eastern Jin Dynasty, he studied the lower case calligraphy more carefully and made it perfect, which also set a good appreciation standard for China's lower case calligraphy.
There is not much difference between the center of gravity of writing fine print and the coordination of strokes. As for the pen, it is slightly different. Small print should be round, beautiful, straight and neat; Big characters should be magnificent and heavy. Use the back front (hidden front) to write big characters and the back front to receive pens; You don't have to use sharp edges to write fine print, but use sharp edges to collect pens. For example, when writing a horizontal line, the pen is pointed or pointed, and the pen is round; Write vertically, start or pause, and receive the pen sharply; Skimming the pen to make it fat: hold the pen to make it fat, and at the same time bend slightly from left to right, with vivid and emotional strokes; Point should be sharp and round, pick should be sharp and sharp, bend inside and outside, and hook should be half bent and half straight. The pen is flexible and limitless. In particular, the whole word should be written in different strokes, but in harmony. A line of words is patchwork, but it has always come down in one continuous line. If there is, it will naturally run through and look like a pearl necklace.
The development history of regular script;
Zhong You (151-230), a native of Wei Yingchuan Changshe (present-day Henan) in the Three Kingdoms, served as a teacher and was named "Zhong Taifu". Cai Yong, a calligrapher of Zhongyou, is good at all kinds of calligraphy, especially official script and regular script. He concentrated simple elements in regular script, and broke the routine in official script, making official script even and square. Thus, Zhong You became the ancestor of regular script. Later, he and Wang Xizhi were called "Zhong Wang" together. His works handed down from generation to generation include bulletin board, festival table, birthday table, quarterly recommendation table and meta-adjustment table, among which the bulletin board is the most famous.
After Zhong, the most famous are Wang Xizhi and Wang Xianzhi. Wang Xizhi (AD 303-36 1) was born in Linyi, Eastern Jin Dynasty. From the chief to the general of the right army, they will review the internal history, so they are called "Wang Youjun" and "King of Internal History". His calligraphy has reached the height of "the more expensive the better", and he is regarded as the best generation of "book saints" in ancient and modern times and in Beijing. His regular script handed down from generation to generation is in small letters, and his representative works include Huang Tingjing (see Figure 2-25), Lun, Bei and Farzam Kama Labadi.
Wang Xianzhi, Amethyst, is the seventh son of Wang Xizhi. He studied with his father since he was a child and was rarely famous. People respectfully address him as "Xiao Wang". His regular script works have only been handed down in the thirteen lines of Luo Shen Fu. There are nine lines in Song Dynasty and four lines in Jia Sidao's calligraphy. Together, we carved 13 lines on the jade, so it is called thirteen lines on the jade plate.
During the Southern and Northern Dynasties, there were wars in the Northern Dynasty, but these northern minorities were influenced by the cultures of the Central Plains and the South and produced new cultures. In calligraphy, stone carvings prevailed in the Northern Dynasties. In the history of calligraphy, we call the stone carvings of the Northern Dynasties "Northern Monuments". It opened a new era in the history of regular script. Wei Bei is the most popular stele in the north, so we often call it the calligraphy style of the Northern Wei Dynasty. Because these stone carvings are mostly from the hands of lower-level calligraphers, they are rough and sparse, and often typos and other words abound. The names of the authors are too numerous to be verified. Stone carvings in the Northern Wei Dynasty mostly appeared in the form of tombstones, epitaphs and cliff statues. The more famous ones are Longmen 20 Pin, Song Gaoling Temple Monument, Zhang Xuan Epitaph, Zheng Wengong Monument, Zhang Menglong Monument and Cui Jing Epitaph. Among them, the "Longmen Twenty Products" is to pray for strangers or turn over the undead. Carved into a Buddha statue on the cliff of Longmen in Luoyang, Henan Province, with an inscription, it is called a statue. Later generations chose 20 kinds of the most exquisite calligraphers, collectively known as "Longmen Twenty Products".
Calligraphy in the Sui Dynasty was also based on stone carving. There are mainly Longzang Temple Monument-later generations praised it as "the first monument in Sui Dynasty", Su Xiaoci's epitaph, Dong's epitaph and so on.
The Tang Dynasty is a prosperous dynasty in the history of China, and literature and art are also the most glorious era of the Tang Dynasty, especially the golden age of calligraphy. A large number of calligraphers and excellent calligraphy works have emerged. Thanks to the advocacy of Emperor Taizong and Li Shimin, calligraphy was incorporated into education, selection of scholars and official system. Regular script entered its heyday in the early years of the Tang Dynasty. There were many calligraphers in the early Tang Dynasty, among which Ou Yangxun, Yu Shinan, Chu Suiliang and Xue Ji made outstanding achievements. Their four families were collectively called "four schools in the early Tang Dynasty" by later generations.
An officer who keeps his word sees the prince, which is called "Ouyang leads the prince". His regular script is well written, with strict statutes and stable structure, which contains danger and strangeness. His regular script is regarded as the ultimate rule of regular script by later generations. The representative works of regular script, which are called "European style" or "variable style", include the inscription of Liquan in Jiucheng Palace, the birthday tablet of Huangfu, the inscription of Buddhist stupa in Huadu Temple, and the inscription of Wenyanbo in Yugong. Especially, it is famous for the inscription of liquan in Jiucheng Palace. This monument, referred to as "Jiucheng Palace" for short, can best represent the European style, and critics often call it "the original script" and "the crown of true books". Its pen is steady and plain, with a long structure, delicate and dangerous. Therefore, the monument is very famous, widely copied and destroyed, washed and chiseled by later generations, and lost its original appearance.
Yu Shinan, whose real name is Bo Shi, is an official to secretary supervisor, whose name is Yongxing County, and the world is called "Yu Yongxing". He is a clever teacher and got a biography of Wang Xizhi. His regular script is inherited from the two kings, mentally defensive and gentle. Only the Confucian temple tablet and the order to break evil in small letters have been handed down from regular script. The Monument to the Confucius Temple is the work of Yu Shinan in the middle and old age, and it has won the standard of thirteen lines in the jade edition, which is beautiful, round and lifeless. Huang Tingjian, a calligrapher and writer in the Song Dynasty, once wrote a poem praising: "Yu Shuzhen watches seal cutting in the Confucius Temple, and two thousand gold can be bought." This shows the preciousness of this monument.
Chu Suiliang, the word "Liang", was the official to advise doctors, secretariat and officials, and was named Duke of Henan, which was called "Chu Henan" in history. He reads better than Emperor Taizong. He got the essence of Sui stele, and joined Yu Shinan and Wang Xizhi, which broadened his body. His representative works include: Preface to Wild Goose Pagoda, Monument to Mr. Meng, Monument to Yique Buddhist Shrine, Ni Kuanzan, Yinfu Jing, Fangbei and so on. Among them, the preface to the sacred teachings of Yanta best represents its style. This monument is a masterpiece of his later years, which is famous for its thinness and hardness. As soon as this monument came out, Chu Shudun became a fashion.
Xue Ji, whose name is Heitong, is called "Xue Shaobao" in the world. Xue Ji's regular script is close to Chu style, but more interesting. At that time, there was a saying that "knowledge of Chu can be bought without losing its festival". His works handed down from generation to generation are few, and he is even more famous for "Xin Xing Zen Master Monument".
Besides these four schools, Ouyang Tong, Zhao Mo, Feng Chengsu, Jing Ke and Zhong Shaojing are all famous calligraphers. But their influence seems to be not as good as that of the early Tang Dynasty. We say that although the four schools in the early Tang Dynasty had their own methods, they never broke away from the traditional elegance and elegance created by the two kings. In the middle and late Tang Dynasty, an innovative calligrapher emerged in the calligraphy field. He started his own school and became an epoch-making figure in the history of calligraphy. He is the most important and outstanding calligrapher in the late Tang Dynasty-Yan Zhenqing.
Yan Zhenqing, whose real name is Chen Qing, is the magistrate of Pingyuan, the official minister, the prince and the founder of Lufeng County, and is known as "Yan Lugong" in the world. He was honest and honest, and was the leader in the Anshi Rebellion, fighting against the rebels. Tang Dezong and Li Xilie rebelled, while Yan Zhenqing killed for persuasion and died unyielding. Yan Zhenqing created a new style of calligraphy-Yan Ti, outside the two kings system, with his own character, knowledge and progress in calligraphy art.
Yan Zhenqing's regular script can be roughly divided into three stages of development. "Multi-Tower Sensing Monument" and "Dong Fangshuo Painting Collection" are his early works. Its characteristics are: rigorous and distinct, Fiona Fang has both, a little proper limit, and the straightforwardness of the characters takes the opposite trend. The Story of the Sage and Fool Leaving the Pile and the Temple Monument of Guo Jingzhi of Taibao are representative works in the mid-term, which are characterized by taking more circles with pens, drawing thick and thick vertically, and holding back alternately. Yan Bei, Ma Gu Xian Tan Ji, Yan Wei Zhen Jia Miao Bei and Li Bei are his later works, which are characterized by meticulous horizontal painting, heavy vertical painting, rich and broad words, calm and square. Yan Zhenqing has made great contributions to the history of calligraphy in China, and his regular script is an excellent model for future generations to learn.
After Yan Zhenqing, Liu Gongquan made great achievements and had a far-reaching influence on later generations.
Liu Gongquan was a famous calligrapher in the late Tang Dynasty. He was good at regular script, calligraphy and cursive script, among which regular script was the most vigorous and called Liu. He learned from each other's strong points and created his own unique style "Liu Ti". After Yan Shu, it had a great influence on later generations and was called "Yan Gu". There is one thing that makes Liu Gongquan famous through the ages, and that is admonition. Mu Zong is a bad king, but he is also arty. One day, he asked Liu Gongquan for his brushwork. Liu replied: "With a pen in your heart, your heart is always there." This statement not only shows the internal relationship between ideological cultivation and calligraphy art, but also obviously contains irony and exhortation, so it is passed down as a "pen admonition" story by later generations. His representative works include: Shence Army Monument, Mysterious Tower Monument, Li Sheng Monument, etc. Especially known as the "Shence Army Monument". This tablet was written when he was sixty-five years old. It is written with a pen and has the reputation of "Yan Liu Jin Gu". The world commented that this monument was "the first miracle in his life, with neat wind and gentle temperament."
After the Tang Dynasty, the Five Dynasties and the Song Dynasty, during the three or four hundred years, calligraphy research flourished, but the inscriptions were sparse. Although many people are good at books, they are not as good as Tang people. The famous "Su Shi, Huang, Mi Fei and Cai" in Song Dynasty (referring to Su Shi, Huang Tingjian, Mi Fei and Cai Xiang) also opened up new artistic conception in running script, and regular script only inherited the previous generation, with nothing new.
Since 127 1, Kublai Khan of Yuan Shizu destroyed the Southern Song Dynasty, unified the whole country and established the Yuan Dynasty. In the Yuan Dynasty, which lasted for more than 90 years, it can be said that it was a retro era of calligraphy. Zhao Mengfu should be the first to achieve the greatest success.
Zhao Mengfu, also known as Zi 'ang, is a Taoist from Song Xue, Ou Bo and Crystal Palace. He was an imperial clan in the Song Dynasty and was highly appreciated by Yuan Shizu. In Renzong, he was formally worshipped by Rong Lu, a bachelor and doctor of Hanlin, and was named Wei Guogong and Shi after his death. The Biography of Zhao Mengfu in the History of Yuan Dynasty said that his "seal, pen, minute, official script, truth, line and cursive script are the best in ancient and modern times, so the title of the book is the world." We often say "Yan, Liu, Ou, Zhao". Among them, Yan, Liu and Ou came from the Tang Dynasty, and Zhao Mengfu came from the Yuan Dynasty. He crossed the times and kept pace with the Tang Dynasty directly, which shows Zhao Mengfu's position in the history of calligraphy. His calligraphy enveloped the book world in the Yuan Dynasty and became popular in the book world. During the Ming and Qing Dynasties, even calligraphers carved books with Zhao Ti, which shows that Zhao Mengfu's calligraphy had a great influence on later generations.
He tried to chase after the two kings, with beautiful structure, round brushwork, gentle and elegant appearance and strong and beautiful heart. Another feature of Zhao Zi is its practicality. When studying Europe and Yan, we often have this experience: it is difficult to learn Europe, but it is difficult to learn Yan customs; Learning from Zhao Ti can often save you trouble. Zhao's pages have left us many precious legacies, and his works handed down from generation to generation are probably unprecedented. The representative works of regular script are: Miao Yan Temple, Shenyou Temple, Danba Monument, Sanmen Monument and Qiue Monument.
1368, Zhu Yuanzhang overthrew the Yuan Dynasty and established the Ming Dynasty, which lasted for 276 years. In this nearly 300 years, we have hardly broken through the barriers of Zhao Mengfu. Wen Zhiming, Zhu Yunming, Wang Chong and Dong Qichang, among them, Wen Zhiming is the best.
Formerly known as Bi, it was called "Wen Hengshan" in ancient times. It was once the imperial edict of imperial academy, so it was also called "Wen Daizhao". He was not clever when he was a child. He took a student exam when he was young. Because of poor handwriting, I ranked third, so I can't take a higher provincial exam. This was a very embarrassing thing at that time. It was a great blow to him, but it didn't discourage him. Instead, it made him study hard. He used other people's rest and games to practice calligraphy silently. He usually writes meticulously, and he rewrites it if he feels dissatisfied. This habit continued into old age. I'm afraid his great achievements are related to this habit. His calligraphy is famous for its neatness and standardization. Small print, in particular, is more important to the world, with profound skills, rigor, simplicity, stability and beauty. However, the lack of change in his calligraphy is his defect. His representative works in lower case are Qian, Lisao Jing, Yuefu and Fu Xue.
The seal script and official script in Qing dynasty surpassed the previous generation, which has been discussed before. As for regular script, it can be said that it is an era of inaction. If we say that regular script in Qing Dynasty has outstanding achievements, we should take Zhao in late Qing Dynasty as an example.
Zhao, whose real name is called Sad Temple. He is a talented artist who is good at painting and seal cutting. His regular script is vigorous and steady; Under the influence of Bao calligraphy theory at that time, he specialized in the North Monument, and through his own efforts, he got rid of the overbearing spirit in the North Monument and created a fresh and unique calligraphy style. His works include People in Southern Tang Dynasty and Moliukeng.
The previous chapter returns to the next chapter in the table of contents.
To learn official script, we must first understand some characteristics of official script. Let's summarize these characteristics:
1. Square is divided into left and right parts.
Seal script and regular script tend to be vertical, forming a square or vertical rectangle, which makes the strokes develop vertically, while official script is relatively flat and develops horizontally (Figure 50). I think the reason for this feature is that official script is developed on the basis of long seal script and written on bamboo slips. In order to save the simplified Chinese version, the graphics are squashed, which increases the capacity of simplified Chinese characters and makes them more concise.
Lishu takes the position of left and right, just like "the geese spread their wings", that is to say, some strokes extend to the left, while others extend to the right and spread symmetrically. Taking the eight-character character as an example, the left-hand stroke echoes the right-hand stroke, forming a knot that is tight inside and loose outside (Figure 5 1).
2. Start writing and collect goose tails.
The biggest feature of the horizontal painting of Lishu is that the silkworm head is added before and the goose tail is added after, and the horizontal part is modified to form a wave foot, which makes the strokes of Lishu more varied. The tail of a wild goose used to be a swallow tail. Judging from its actual image, it seems more realistic to describe it with a goose tail (Figure 52).
3. Turn the arc into a straight line and draw a point.
Official script is a transitional character from seal script to regular script, and a large number of round pens in seal script become straight lines. That is to say, compared with seal script, it has many kinds of strokes, that is, there are many round or square edges at the beginning and end turning points, which eliminates the bending strokes of seal script. From the original seal script, there were only three strokes of point, straight and arc, eight basic strokes of official script were derived, and more varied strokes were derived. For example, it is divided into various official script points, vertical into various straight lines, horizontal into various horizontal lines and oblique into various strokes (Figure 53). Such a great change from glyphs to strokes is a leap and a revolutionary change in the evolution of calligraphy forms! For example, the power of seal script becomes the power of official script, the power of seal script becomes the power of official script, and the power of seal script becomes the power of official script. We can also see the difference among seal script, official script and official script from the word "Yong" which best represents eight basic strokes. For example, the strokes of seal script are straight, while official script is slightly inclined. The point of seal script is extremely straight, and when it comes to the point of official script, it changes all kinds of oblique points.
In seal script, long paintings become points, such as ""(water) beside seal script and ""in official script. The characters "fire", "four points" and "official script" in seal script are also very different from those in seal script.
4. Turn a circle into a square and break it into a broken one.
The character boxes of seal script, such as Guo, Tu and Hui, are rounded, and the official script is square. The seal script beside the mouth, side and side is connected by strokes, but it is written as a broken pen in the official script.
5. Pens increase the thickness of Teton's paintings.
Originally, there were only horizontal strokes in seal script, so the strokes kept a certain thickness, and the official script became criss-crossed, adding strokes, so the strokes were thick and thin, which strengthened the rhythm of the brush.
Running script characteristics
The difference between running script and regular script is that the brush is accelerated, and it is cursive writing and simplification on the basis of regular script. That is to say, the structure of regular script is formed by using the strokes of a rough part of regular script and changing the strokes of regular script, which is more concise and smoother than regular script. That is, cursive script simplifies the strokes and structure of regular script, and breaks through the rigor of regular script with the indulgence of cursive pen, thus forming a new form of organic integration of cursive script and cursive script. The hairspring between the strokes of running script is the brushwork of cursive script. There is no hook in the running script, no hairspring involved in strokes, or the brushwork of regular script. The running script has a small hook at the place where the strokes meet, which makes the strokes smooth and lively, reflect each other and have a more continuous momentum; Running script is embodied by hook, sometimes it can be implicated by hairspring, or it can be broken up and down. This is the difference between running script and book.
Because the running script uses both cursive and cursive characters in strokes and shapes, it has great variability in style. If it is set closer to regular script, that is, regular script method is more than cursive calligraphy, it is called "running script"; What is close to cursive script is called "cursive script", that is, cursive script is more than cursive script. Generally speaking, there are three kinds of changes: 1 mainly regular script, that is, it is basically regular script, but it is more oblique than regular script, and the strokes are added with hooks and systems. Structurally, cursive alternate characters, that is, most of them are regular script with simplified running script in the middle. On the layout, alternating cursive characters, part of regular script with flat structure and part of cursive script with vertical and horizontal changes are intertwined, some are tight and some are loose, and the levels are uneven.
The addition of hook and hairspring in running script pen is more obvious than that in regular script, in order to reduce the complicated opening and closing techniques of regular script and speed up writing. When fixing the script, it is not necessary to focus on how to increase the hairspring of the strokes, but on the transformation of the pen, so that this intention can be naturally revealed in the rotation, flexible and vivid. Such as "Mao", "horizontal" and "heavy" in the preface to the holy teachings, the hairline of the strokes should be quite flexible and vivid. Most of the hooks and hairsprings added in the strokes are thinner than the basic strokes, which makes the bones and muscles clear; There should not be too much hairspring between strokes, so that the pens set each other off in fiction and fact, and the ups and downs are bright, so as to achieve the purpose of "breaking the meaning of the pen".
Because the running script is changed from regular script, the structure is close to regular script, and the pen basically follows regular script. However, there are obvious differences between running script and regular script. The writing speed of regular script is slow and balanced, and the rhythm changes little; Running script writing speed, ups and downs, Xie Qiang's sense of rhythm. Regular script structure is well-balanced, and running script occupies more sides. Skew) is bound to change shape many times. Each point of regular script is independent and echoes the connotation of relationship; There is a gossiping relationship between the paintings of the tax bureau, and the reaction relationship is exposed. Tick line is an important feature of running script, which connects points with pictures, makes the spirit flow and increases the flexibility and responsiveness of running script, but it can't artificially describe the pursuit. Therefore, beginners should not use pens too much to avoid unstable structure and give people a slippery and sloppy feeling.
Due to the characteristics of running script, the form of "with lines and no columns" is convenient and beautiful in composition. When writing, we should pay attention to the font size, the intersection of static and dynamic, and the change of word density, so as to match the vividness of the article with the flowing beauty of the structure.
Although the running script is changeable, its characteristics and laws cannot be mastered in the change. This requires us to carefully study the calligraphy stickers of ancient calligraphers, analyze and study them, be diligent in writing practice and application, and naturally find out its laws.
The cursive scripts include Cao Zhang, Jin Cao and Crazy Grass. The cursive script is characterized by simple structure and continuous strokes. Cao Zhang originated in the Western Han Dynasty and flourished in the Eastern Han Dynasty. The font is in the form of official script, and the characters are different and correct each other. This grass originated in the late Eastern Han Dynasty, with diverse styles and beautiful brushwork. Wang Xianzhi, the sum of Wang Jinxi, is good at this grass, and so are modern Yu Youren and Liu Tianyi. Wild Grass, also known as Big Grass, has bold brushwork and continuous posture, such as Zhang Xu's Thousand Pieces of Broken Monuments and Four Ancient Poems in the Tang Dynasty, and Notes on the Autobiography of Monks in Huai Su. Sun's brushwork is lively and charming. "Big grass" and "small grass" are symmetrical. Big grass is pure grass-based and difficult to identify. Zhang Xu and Huai Su are good at it, and their words are written in one stroke, sometimes out of line, but the context is constant. In Qing Dynasty, Feng Ban gave a lecture on cursive script in "Blunt Printing Book": learn from it, learn from it, learn from it, and learn from Zhang Xu as weeds, so it is better to learn from Huai Su. Huai Su's cursive script is easy to recognize, the handwriting is fine, and the relationship between words is clear and easy to put pen to paper. Zhang Xu's glyphs vary widely, often a number, and the momentum between them is constant, which is difficult to identify and forms a unique style. As mentioned in Han Yu's Preface to Giving People a Noble Mind, Zhang Xu's cursive script is "angry and embarrassed, sad and sorrowful, resentful and resentful, yearning, drunk and annoyed, unfair and moving in the heart, which is bound to be reflected in the cursive script", so it is difficult to learn from Zhang.
Characteristics of seal script
There are many kinds of seal script. Generally speaking, there are Oracle Bone Inscriptions, Jin Wen and Xiao Zhuan. Oracle Bone Inscriptions and Jinwen can be collectively called Da Zhuan. Xiao Zhuan is a unified script in the Qin Dynasty, as well as Miao Zhuan, which was used exclusively by printers in the Qin and Han Dynasties.
Today, seal script is not very practical, because it is not easily recognized by the masses. However, due to its decorative structure and great artistic value of calligraphy, it is still preserved in the calligraphy garden as one of the calligraphy font forms of calligraphers.
Here is a brief introduction to the structure and brushwork of Da Zhuan.
Characteristics of seal script
1.
There are many hieroglyphics in Da Zhuan, and there are various expressions. Most of them are based on shapes, such as horses, sheep and elephants. There are many kinds of writing, and the rules of distribution structure have not been regularized. Writing a character can show bending over to work or kneeling. The shapes and positions of the radicals in Oracle Bone Inscriptions were also scattered, until the Qin Dynasty unified the characters. After finishing, the characters tend to be unified, but there are still many graphics and characters with different meanings.
2. Body positive potential circle
Xiao Zhuan's form should be accurate, horizontal painting should be flat and vertical painting should be straight, which is a rigorous and neat calligraphy form. The structure and brushwork of Xiao Zhuan are mainly round, and the outer contour of the word is elongated because of the central intersection line of the word, such as the middle and the sky. Form a natural oval.
The word potential of Xiao Zhuan is an arc at every corner. A few Miao Zhuan and Qin Zhuan used for seal cutting also have some room potential, but after careful observation, they are still mostly circles in a square, which is quite different from Li Zhuan's square potential.
If you can't see the left, you can't see the right.
Seal script is an ancient Chinese character, unlike regular script, which has many different changes. Its basic methods of forming characters are useful points, lines and arcs. The strokes are of the same thickness, and the front and back should be hidden, and the left side should not be left, and the right side should not be si. It's all curves.