Xingshu is a font between regular script and cursive script. It can be said to be the cursive version of regular script or the regularized version of cursive script. It was created to make up for the slow writing speed of regular script and the difficulty of legibility of cursive script. The writing style is not as sloppy as cursive script, nor is it required to be as straight as regular script.
According to legend, there are two theories about the origin of running script:
First, according to Zhang Huaiguan's "Shujuan": "The running script was created by Liu Desheng of Yingchuan in the later Han Dynasty, which is the small form of the main script. It is necessary to keep it simple, so it is called running script." From this we can see that "running script" is the transformation of "official script".
2. According to Wang Sengqian's "Able to Write Names of People in Ancient Times": "Zhong Yao's calligraphy has three types: the first is the book inscribed on stone, which is the most wonderful; the second is the charter book, which is passed down to secretaries and teaches in elementary schools. The third one is "Xingwen Shu". Hedong Wei Kaizi adopted Zhang Zhi's method and used Kaifa's method to make a draft. "From this we know that Xingshu is also called Xingwen Shu. It was developed from the painting company's signature. Those who heard from each other refer to writings, letters and the like.
The structure of running script has the following characteristics:
The combination of large and small means that each character is different in size. There is a connection between the pens of a character and the connection between characters. There are actual connections, there are also intentional connections, there are breaks and there are connections, and there is a response of looking and looking.
The combination of retracting and releasing is generally that the short line is closed, the long line is released; the front is closed, and the side front is released; most of them are left closing and right releasing, up and down, but they can also be converted to each other. , it is not excluded to put it on the left and close it on the right, or put it up and down and close it.
The appropriate density is generally dense at the top and sparse at the bottom, dense on the left and sparse on the right, dense on the inside and sparse on the outside. The middle palace is tightly knotted, and the smaller the blank space for the frame, the better, and the smaller the blank space for the circled strokes, the better. In the layout, the word spacing is tight, the line spacing is wide, and the writing is vigorous and colorful.
Writing in running script with a blend of light and shade should be relaxed, lively and quick, and master the combination of speed and delay, movement and stillness. In the design of ink color, the first character should be thick and the last character should be dry. The lines are long, thin, short and thick, with appropriate weight and alternate shades.
There are many representative works of running script, the most famous of which is the "Preface to Orchid Pavilion" written by Wang Xizhi, a calligrapher of the Eastern Jin Dynasty. The predecessors described his calligraphy as "a dragon leaping over the Tianmen, a tiger crouching in the Phoenix Pavilion", and was praised as "the best in the world". A line of writing."
"Lanting Preface" highlights the use of side and exposed fronts in the combination of center and side forwards, hidden front and exposed front. This is different from his earlier "Aunt's Note" which focused on the middle and hidden fronts. The exposed edge cuts into the pen diagonally, and the side edges sweep and flip, which is refreshing and refreshing. The slightly curved strokes are smooth and sharp. Slim lines, thin and plump. At the transition point between pens, the thread is pulled, and the pen is broken to connect the meaning, which is a wonderful way to look forward with eyebrows and eyes.
Among Wang Xizhi's cursive works, "Sang Luan" and other writings tend to be more cursive and more lively. "Lanting Preface" is written in regular script, which combines the flexibility of running script with the strict rules of regular script. The refreshing and smooth writing style not only makes the beginning and end of the writing clear and solid, but also is flexible and relaxed, without a trace of sluggishness.
The words in this post have no fixed rules, and the shape arises according to the situation. Most of the fonts change in pitch according to the needs of the qi movement in the place, but they are inconsistent and can be combined, and the changes are not chaotic. And because characters are shaped, they have various sizes, widths, lengths, heights, and postures. The word "knot" is in the side position, and the diagonal position is correct. This kind of side posture is different from the later Song Dynasty people's side posture. The side posture of Wang is gentle, while the side postures of Mi, Huang and others highlight the flying and unbridled spirit.
"Lanting Preface" uses an orderly but uneven composition. Even though there are rows, there are no horizontal columns. Even if there are rows, it facilitates orderly continuity from top to bottom, while without horizontal columns, it avoids simple elements that look like operators. The upper and lower characters in the vertical lines often have their centers of gravity staggered left and right. When writing in an orderly manner up and down, the Qi will move freely, while when the lines are left and right scattered, the Qi will move irregularly. Words and words, lines and lines are sparse and clear. The character spacing is sometimes sparse and sometimes dense, and the line spacing is sometimes wide and sometimes narrow. The lines are distinct and the lines echo each other, and the Qi pulse is coherent.
In the history of calligraphy, "Lanting Preface" occupies a very high status and is known as "the best running script in the world" and is widely appreciated: "Youjun's narration of "Lanting" has perfect calligraphy. He is particularly good at arranging things, as the saying goes, "One point is too long, one point is too short. The wings of fish, hyenas, and whiskers of flowers and butterflies shine brightly, and they are all arranged in their own way. There is no regret at all." (Xie Jin's "Chun Yu Miscellanies") "You Jun's "Orchid Pavilion Preface" has the best composition in ancient and modern times. The characters are all reflected in the tape, small or large, and they are all according to human rules, so they are divine crystals. "(Dong Qichang's "Essays on Painting a Zen Room") In their opinion, "Lanting Preface" has reached the level of perfection.
People often call them "two kings" together.
Comparatively speaking, Wang Xianzhi's neutral tone more expresses the unrestrained masculinity of the divine horse, while Wang Xizhi more typically embodies the implicit and smart beauty of neutrality. "Yi Shao adheres to the principles of truth, and the son respects the power of grass; the father's spirit is harmonious, and the son's divine horse is unique in ancient and modern times." (Zhang Huaiguan's "Shu Yi") A person with a "harmony spirit" is gentle and elegant, with a peaceful ambition. , smart and unrestrained; the "sacred horse" is heroic, mighty, majestic and vigorous.
The harmonious beauty of Wang Xizhi is the combination of "quality" and "beauty", which has both simplicity and simplicity. Compared with the Han, Wei and Zhong Yao styles, Wang Xizhi is more graceful; while compared with Wang Xianzhi's grand and unrestrained style, Wang Xizhi is more reserved and simple.
The "Manuscript of Sacrifice to My Nephew" written by Yan Zhenqing of the Tang Dynasty is so vigorous and unrestrained that the ancients rated it as "the second running script in the world". Su Shi's "Huangzhou Cold Food Post" is known as "the third running script in the world". The famous representative work in regular script is "Lushan Temple Stele" by Li Yong of the Tang Dynasty, which is smooth and plump. There are also Su Shi, Huang Tingjian, Mi Fu, and Cai Xiang in the Song Dynasty, Zhao Meng, Xian Yushu, and Kang Li in the Yuan Dynasty, Zhu Yunming, Wen Zhengming, Dong Qichang, and Wang Duo in the Ming Dynasty, and He Shaoji in the Qing Dynasty. They are all good at running script or cursive script. Many works have been handed down from generation to generation.