Dai Zi and Appreciation of Cursive Calligraphy
Dai Zi Cao Xing Calligraphy 1
Dai Zi Cao Shu Calligraphy II
Chinese cursive calligraphy 3
Wear cursive calligraphy 4
Chinese cursive calligraphy 5
The brushwork characteristics of giant axis cursive script.
With the increase of giant axis cursive works and the accumulation of experience in writing Chinese characters, the situation that calligraphers are not good at writing Chinese characters with pens has finally been improved in the hands of calligraphers such as Xu Wei, Wang Duo and Ni. Wang Duo is the master who has made the greatest contribution and the most far-reaching influence in this brushwork change. Even it is in the future? Did the late king (Tudor) defeat the former king (Xizhi)? Said. This paper selects several books in Fang Shi Shu Hua to analyze the characteristics of Wang Duo's giant axis cursive script.
The brushwork is unrestrained.
The book must be full of gas, and it must be full of gas, long and short. But if you can't do it directly, you must gain momentum in the ups and downs, so that you can get out of hand. Once the giant axis grass is hung in the hall, it is far away from the audience, so it can no longer be meaningful and meaningful, and it must give people a strong visual impact. ? Angry? Then the work is full of tension. Far away? Then the air vein runs through. Do you have to use a pen to write big characters? Where there are ups and downs, there is distant potential. In order to develop vertically and horizontally, it is a thousand miles away. Throughout the past dynasties, calligraphy can be divided into two forms: extension and introversion in terms of brushwork and structure, while cursive script emphasizes the continuity of brushwork and writes faster, and adopts the method of extension. Therefore, after Wang Xianzhi, calligraphers used cursive script, mostly external expansion, especially Lu Gong, Jue Si and Zhu Qing. The giant axis grass is elongated in amplitude, with special emphasis on the longitudinal direction, showing its unique advantages. If Lu Gong interprets Tuobi most incisively and vividly in the field of small brushwork, then Wang Duo and Fu Shan's contribution is to push the bold and unconstrained characteristics of Tuobi to the extreme in the field of giant axis brushwork that Amethyst and Lu Gong have never set foot in. On the other hand, Wang Duo's writing is bold and bold. He is wild and generous, and his brushwork is surging, like a river of no return. ?
Extreme pen gesture without losing control
Exhausting horses and rushing to the spring, angrily smashing stones, describing fierceness and great pen power. But when the Pentium was overwhelming, it suddenly tightened and whipped into the right path, which was different from rage. Wang Duo claims to be? It's not easy to leave one post a day and want one post a day. ? Looking through the complete works of Wang Duo's calligraphy, we can see that his temporary works almost run through every period of his life, which shows that this statement is true, and the profound skill accumulated by his long-term immersion in ancient times was made for him. Let go? And then what? Give up? Provides the most powerful guarantee. Seeing Wang Duocao, he has both theory and law, and he is crazy but not wild. His strokes of vertical jump, throwing and flying are all surprisingly controlled, and his fast and smooth strokes can still accurately explain the ups and downs, showing an excellent balance between passion and reason. Ma Zonghuo's "Reading Buildings and Writing Talks" says: In Ming Dynasty, cursive scripts were all vertical to borrow momentum, while senses were vertical to gather, so they were not extreme and the situation was endless. ? When it is confirmed.
Maturity is extremely counterproductive, and it is late and heavy.
I said that my eyes should be astringent when playing with ancient posts, and my hands should be astringent when I put pen to paper, which is counterproductive. Little by little, you are depressed and strong. If you are fighting for the road, you are more fierce than striving for progress. Slipped away without climbing the scale. We might as well compare Dong Qichang's cursive script with Wang Duo's. Dong's plays are erratic and lose the sense of fluency, while Wang's plays strongly exaggerate the frustration of lifting pressure and emphasize the use of pens. Into the newspaper? , supplemented by the dry and wet changes of ink color, makes it appear calm, cheerful and depressed. Wang Duo's cursive script is mainly attributed to Erwang and Mi Fei, but he is also very accomplished in Han Li, Beibei and Yanzi, so his giant axis cursive script is leisurely and slow. As far as brushwork is concerned, Wang Duo can be described as a master of tablet inscription, right army and Lu Gong.