The stroke order is horizontal, vertical hook, lifting, horizontal and vertical hook.
As the most concise spiritual product of China culture, China's calligraphy contains many mysteries in its structural aesthetics. The physical structure of calligraphy fonts is the source of China calligraphers' expression of life and artistic feelings, and the carrier of China's artistic conception. The artistic spirit in the morphological structure fully reflects the personality characteristics of the creative subject.
"freehand brushwork with form" in calligraphy is to establish a feasible connection between the physical structure of characters and people's spiritual world. From the perspectives of China's traditional cultural thoughts, stroke order and brushwork, this paper analyzes how the structure of China's calligraphy shows its beauty under the combined action of these factors, so that China's calligraphy art presents a unique aesthetic feeling and colorful appearance.
Some scholars believe that the structural beauty of China's calligraphy contains a certain cultural idea that comes down in one continuous line, which provides philosophical enlightenment for the formation of the structural beauty of China's calligraphy. The aesthetics of China's calligraphy structure is most profoundly influenced by Taoism, but as the three spiritual pillars of China's traditional culture, Confucianism, Taoism and Buddhism all play an important role in promoting the formation of China's calligraphy aesthetic concept.
Harmony advocated by Confucianism is the way for people to get along with each other. Harmony advocated by Taoism is the interdependent relationship between man and nature. Harmony advocated by Buddhism is the peace and far-reaching in people's hearts, and it is not based on happiness in things but sorrow for oneself. Influenced by the beauty of harmony and nature, China's calligraphy also shows the artistic imprint of China's traditional culture with its structure.
the influence of strokes on the structure of calligraphy
the structure of Chinese characters is related to the use of brushwork. Anyone who has studied calligraphy knows that "the pen is used by the center" is one of the principles of calligraphy. To keep the pen upright and impartial, this "upright" brushwork reflects a moral value, that is, to be honest and frank.
The horizontal paintings in Zhao Mengfu's "Luoshen Fu Tu" are all low on the left and high on the right. The thickness and inclination changes are not obvious, and the strokes are similar. Up and down two points on the left, more up and down; The turning point is mostly Fiona Fang combination; Most of the strokes are from the top left. On the contrary, Dong Qichang's imitation of Su Shi's brushwork axis, the horizontal painting of this work is not the same as the left painting.