But with the development of the times, the knot word is different, and it constantly deduces a new point-line segmentation. Perhaps "handed down from generation to generation" means that spelling will vary with the times, customs, personal tastes, hobbies and aesthetics.
As an outstanding representative of artists, Zhao Meng certainly has his own understanding of calligraphy. He once said: "The book takes the pen as the key link, and the structure must also be studied hard." The following will focus on the analysis of the characteristics of Qianhouchibi Fu.
1. Horizontal potential
Zhao Mengfu won the title of "Two Kings", but his handwriting is not as clear as Xihe's, but he is unique.
Throughout this volume, most of his books are horizontal, and his generous physique makes his writing comfortable. Calligraphers use ingenious methods to spread the horizontal posture, such as "time" and "Cao" highlighting the horizontal direction, "release" and "wing" painting heartily, "energy" and "prone" shrinking the vertical pen, and "male" and "abundant" leaving blank.
Of course, this horizontal trend is only the main theme of its spelling, and there are also many square or long structures interspersed among them. Zhao Mengfu, who is obsessed with structure, will not ignore this point. He used the large spacing between words, vivid and changeable glyphs, timely vertical posture, and occasionally uneven cursive script to make this horizontal posture a wonderful note.
The author pays special attention to the individual "Zhi" in his works (see figure), and the calligrapher intends to write it as a vertical posture. Its long and narrow shape and continuous lines adjust the rhythm of his works well.
Step 2 be careful and harmonious
Compared with Wang Xizhi's Preface to the Holy Teaching, Zhao Shu conveys a beautiful and elegant beauty.
The acquisition of this aesthetic feeling should benefit from the meticulous harmony of Zhao's ci. Next, several case studies of the interview;
The stippling of the words "jade" and "magpie" in the attached drawings is more complicated, but the dense parts are not covered, the sparse parts are quite uniform and free, and the writing weight, position and pen collection action are very accurate.
In the drawings, the word "Miao" is light on the left and heavy on the right, but the calligrapher presses the left and lifts the right when writing, thus achieving a visual balance at once.
The horizontal and vertical positions of the word "gold" in the attached figure are just right, and the division space measured with a ruler is symmetrical.
The word "Ling" in the attached drawings is intentionally written with left contraction, compact sides and sparse middle, which makes the word interesting. In the same way, there is the word "Meng", but it is densely packed up and down in the sparse middle.
3. Miscellaneous things
How to add a sense of agility and freedom to meticulous and even word-writing, in addition to the application of grass method mentioned above, there is also a patchwork of exquisite.
In Qianhouchibi Fu, the characters with left and right structures make it long and short, high and low, such as the word "flag" in the right picture; The words in the upper and lower structure make it wide and changeable, such as the word "Jing"; The monograph makes his stippling uneven and his strokes vivid, such as the word "leaf" and "leaf".
4. Dynamic and static comparison
The characteristics of this writing method inject some agility into Zhao's seemingly calm and natural writing.
The dynamic and static background of this volume includes the incorporation of lines and grass in composition processing and the application of typography. "Quiet" simply means that the strokes are quiet, and the treatment method is like regular script; Of course, "moving" refers to the pen flying, using cursive brushstrokes. For example, the words "smooth" and "static" in the picture on the right, with a semi-static and semi-dynamic line pen, enrich the expressive force of writing.
Combination of light and heavy
From the point of view of composition, the light and heavy conversion between lines in this volume is very clear; While paying attention to writing, light and heavy lines are everywhere.
By pressing with a pen, or contrasting left and right, or different from top to bottom, or different from inside and outside, we can see from the word "environment" on the right.
Of course, this writing should be handled naturally and appropriately, and should not be too mechanical. Generally speaking, radicals should be regarded as a unit, and strokes should not be regarded as a beat. The pen for writing varies in weight.