In Huang Tingjian's running script, most characters are vertical, but the middle palace of each character ("middle palace" is the center) seems to have a center, and other strokes radiate from the center.
This "broken" and "radial" glyph structure has broken through the square and even the appearance that has been popular since the Jin and Tang Dynasties. With the help of his stippling, he not only grasped the center of gravity, but also exaggerated some strokes, which made his calligraphy show the spirit of elegance and boldness.
2, lateral changes, unconstrained style:
The second feature of Huang Tingjian's calligraphy is that the structure of fonts and strokes is unconstrained. His horizontal paintings are uneven and his vertical paintings are crooked. The parts of each word often cooperate with each other in a good or corresponding oblique form, which is contrary to the flat and rigid structure of the predecessors, making his words look chic and gorgeous.
Su Dongpo appreciates the characteristics of the Yellow Book, and once said: "Lu Zhi's character of the Yellow Book is the concept of equality, the truth is a trick, and trivial matters are open, which can be described as' three evils'. ("Dongpo Continued" Volume 4, "Postscript Lu Zhi as Wang Jinqing's Little Book Erya").
3, don't provoke, a generation of wonderful books:
The third feature of Huang Shu is that when writing three points of water, it does not provoke the next point, such as the words "Fan", "Gu" and "Ru" in the biography, the word "Jing" in the postscript of various seats, and the words "Tao", "Wash" and "Sprinkle" in Song Fengge's poems.
Words such as "Zen" and "Shen". In particular, the running script "Poem Volume of Jingfubo Temple" contains 17 words, which are divided into three parts. Except for the words "Ze" and "De", the last part of the other words 15 are not provoked.
4. Point to the left and write close with a frown:
The characteristics of yellow books are mostly large strokes and long strokes, which are obvious characteristics of yellow books, but sometimes the strokes of some words are deliberately shortened and collected.
Among them, the most prominent are the words "Xiu" and "Shen" in Wang Chunzhong's epitaph, poems to forty-nine nephews and Song Fengge's poems. And Huang Tingjian divided the three words into three points.
This unusual treatment makes the "development" and "promotion" in the font structure contrast, and the long strokes and short strokes make the strokes of these words change without repetition. This is another feature of the Yellow Book.
Extended data:
Huang Tingjian is good at running script and cursive script, and regular script is also his own. Learning books especially admire Wang Xizhi's Preface to the Lanting Pavilion. When Huang Tingjian traced back to the Jin and Tang Dynasties and studied the classic calligraphy of his predecessors, Su Shi had the greatest influence on him. It can be said that Huang Tingjian's calligraphy was largely imitated by Su Shi. Huang Tingjian, as one of the "Four Scholars of Su School", cannot but be influenced by Su Shi's calligraphy style.
Between two friends, a teacher and a friend. Judging from Huang Tingjian's handwriting, it is obvious that his calligraphy is characterized by sharp pen opening, flat and wide shape, and an upward trend to the right. It is even exaggerated and emphasized, but it is not as familiar as Sue.