If you look at the blue lines in the picture above, they will serve as a good reference for understanding the structure.
1) The first blue line emphasizes the position of the first stroke on the right side of the single person (卬: ang with two sounds, Tong Aang; also pronounced yang three times, Tong Yang), and at the same time It also determines the relative height of the entire right "卬" and the single side.
2) The second blue line emphasizes the height of the character "卬". It is particularly important. It is located about 2/3 of the entire single person. If the character "卬" is flat, it will be long. Both the left and right vertical sides look empty. If it were higher, the character "卬" itself would be ugly.
3) The second blue line almost bisects the distance between the first and fourth blue lines, and the third one (emphasis on the length next to the single person) is equal to the distance between the second and fourth blue lines above and below.
To be honest, I didn’t have this awareness of isometrics when I was writing it. It was only after I finished writing that I realized that it had achieved this effect.
Because this arrangement is more reasonable and more in line with our aesthetics.
This is the standard of regular script. It cannot be exceeded or less than it. It is very strict.
2. The horizontal spacing is also very strict.
3. Let’s focus on the “卩” on the right side (jie’s second sound, the same as “jie” in ancient times), which is also a difficult point.
1) According to our normal writing habits, the right side of "卩" is usually not written like this. It is wider and flatter than this one, but Ou Dada made adjustments here, otherwise the first side would be wider to begin with. The characters will be wider. Secondly, "卬" is originally written flatter than the single character. The two sides of the vertical pen are empty, which will aggravate the situation and make it much uglier.
So the requirement here is that the right side of "婩" should be longer and straight, close to the height of the left side. (shown by the blue line)
2) At the connection between the vertical pen and the horizontal fold, because the horizontal fold is written first and then the vertical, the vertical pen is usually blocked by the horizontal fold, but not here. , but the vertical pen blocks the horizontal fold, making the horizontal fold very short.
3) The last vertical stroke is between the hanging dew and the hanging needle, close to the hanging dew.
Exercises for the word "Yang":
For beginners, the word "心" is definitely a difficult point.
These points are easy to talk about, but I really can’t find the feeling for this hook.
It just so happens that Teacher Tian Yunzhang’s word of the day that I pushed today is talking about the word “heart”. The video explanation makes it clearer.
However, even if you watch this lecture a hundred times, you won’t learn to write it well. A child said that he could not always find the right curvature for the strokes and strokes of the character "大". This is what I said at the time:
A very critical point in calligraphy is the aesthetics of the "character", that is, You know what makes it good-looking. Things like curvature cannot be quantified, but you have an intuition in your heart that when it is curved to a certain extent, it is beautiful, and when it is curved to a certain extent, it is ugly. This way you will follow the rules when writing. That beautiful arc to complete it.
This kind of recognition and judgment of "beauty" cannot be completed in a short time. It needs to be cultivated through continuous practice, observation and thinking.
The same is true for the word "heart".
So if you look at the word "heart" written by great calligraphers, they are not all the same, but they all look good.
What I wrote is also very general. If I write several in a row, it will be different, but the aesthetics will not be much different:
Beginners often fall into rigidity after posting. problem.
Speaking from my personal experience, since I wrote basically every day during the six months of writing a public account, I have a deep feeling.
When I first started writing public accounts, I often had to write more than ten pieces of a four-character work before I was slightly satisfied. But looking back now, it is also very bad, and now I write a "Gao Shan Yang" Stop", just write it once and use it.
When writing a single word, you need to be aware of both local and overall aspects;
When writing a stipple, you need to be mainly aware of the local area and pay close attention to the details;
When writing a work, the main thing is to be aware of the overall situation and have the whole picture in mind.
This kind of awareness can be trained and practiced continuously. I hope that those friends who have not hired a teacher and learned calligraphy from an idiot can realize these problems and improve them through continuous and deliberate training. solve.
A little experience and understanding, I hope it will be useful to everyone.
Continuous output, be sure to pay attention!