A new theory on the structure of running script

Calligraphy is a unique oriental art variety based on Chinese characters. Through the organic combination of monochrome lines and color blocks of Chinese characters, it impacts the viewer's vision with its flying strokes, rigorous structure and penetrating charm, giving people a beautiful enjoyment. Running script not only takes into account the quickness and agility of brushwork, but also maintains the rigor of Chinese characters in five fonts: seal script, official script, uppercase, running script and cursive script, which has a unique aesthetic taste. When we appreciate the famous calligraphy posts and tablets in history, we will find that the same word appears in different works, or in different places of the same work, and the structure, size, thickness and interest have changed greatly (famous artists seem to pursue this change more in their creation) to meet the needs of the article layout and even the author's emotional expression and catharsis at that time. It should be said that some works are really created after careful preparation, but most of them are post-it notes, and some of them are improvised after drinking, so there is no more time to plan the layout, but it does not affect the artistry of the works. Therefore, whenever I appreciate these famous works, I always feel that calligraphers should have a simple knot rule to follow. If you can't, you can't form a work of art, and the rules are too complicated, which will definitely affect the fluency of writing. So I think there must be a simple knot rule that most calligraphers can follow. 1, the traditional rules and means of learning Chinese characters

In the calligraphy discourse left by calligraphers in history, there are few words focusing on the structure of running script. Considering that running script is a quick way to write regular script, it is very helpful to understand the structure of running script by thinking about the rules of regular script. When I was a child, when I was in a big class at school, my teacher told us that Chinese characters are square characters, and they should be written in a square, horizontal and vertical way. This should be the basic rule of the disintegration of China's regular script. Then I turned over some Copybook for calligraphy, talking about nothing more than "flat, accurate, evasive, interspersed, even empty, pitching, small and neat left and right, supporting the upper cover" and so on. Because of the different word-formation structures of a single font (such as left and right, up and down, left, middle and right, up, middle, down, surrounding, semi-surrounding, unique characters and other structures), they all have their own meanings. It should be said that.

The golden section knotting method discovered by Mr. Qi Gong in his early years is to find four golden section points in a square according to the golden section ratio (5: 8). When the main strokes of a word pass through these four points, when writing the word, the middle palace is tightened and the external force is extended, so the shape is beautiful and beautiful (see Mr. Qi Gong's special discussion for details). However, this rule only describes the main stroke passing through a certain point, and it is impossible to determine the starting and ending position of the stroke, especially in guiding the structure of running script.

2. Problems that cannot be solved by traditional laws.

(1) can't solve the deformation problem of running script. Relatively speaking, the change of a specific word in regular script by the same calligrapher is subtle, even in different works and works in different periods, the change is not great. However, in the running script, even in the same work, homographs are often deliberately pursued by calligraphers and have changed a lot.

(2) The starting and ending points of strokes cannot be solved. Running script pays more attention to the layout of composition than regular script, and the connection of upper and lower characters directly affects the momentum of the whole work. A word appears several times in a work at the same time. The upper and lower characters are different, the position is different, and the font changes greatly. Neither the traditional structural rules of regular script nor Mr. Qi Gong's golden section method can solve the problem of the starting and ending points of each character stroke in running script. 1, the discovery of parallelogram rule

Recently, I read Mr. Guo Moruo's copybook and suddenly found that Lao Guo's word structure is very distinctive. Almost every word has two or three standard parallelograms simply combined at a certain angle (mostly 60- 120 degrees).

2. Complete description of parallelogram rule

Based on the "square font" of Chinese characters, the parallelogram formed by the top, bottom, left, right, right, opposite side or diagonal is the basic modeling unit, and the principle of "stable center of gravity, fairness, alignment, uniform spacing, avoidance and insertion" in the traditional structure rules is considered, a Chinese character is decomposed into 2-3 parallelograms and inserted at a certain angle. 1, can quickly grasp the characteristics of famous running script fonts, and it is easy to recognize posts, remember posts and write them silently, that is, it is easy to enter posts. In the past, Jiugongge and Mi Zige were mostly used to practice calligraphy. In recent years, another person invented Huigong Pavilion. In this way, when you practice calligraphy, you can write where the strokes are, which makes it easier to imitate the image. However, once you get rid of this calligraphy paper, it is difficult to grasp it, which is far from the original font. This is because these calligraphy papers can only restore the position of the strokes in the original post mechanically, but can't regularly understand the internal relationship of each stroke in each word. Using the parallelogram rule, a word can be decomposed into 2-3 chunks, which is easy to understand and remember.

2, grasp this principle, easy to create their own artistic style, that is, easy to paste. The artistic style of calligraphy is manifested in many aspects, from Fiona Fang's layout and brushwork, from the softness and hardness of the brush to the dryness and wetness of the ink, as well as the influence of famous artists, what font, calligraphy or inscriptions, and so on. However, the change of font frame structure is also an important artistic embodiment of calligraphy art style. But in terms of structure, there are fat and thin, positive and dangerous, high and low center of gravity among famous artists, but in the final analysis, it is only caused by the shape, angle and intersection angle of the parallelogram itself. If these elements are slightly changed, they can be transformed into new styles.