Appreciation of cursive thin man's calligraphy works
Appreciation of cursive calligraphy works 1
Appreciation of cursive calligraphy works II
Appreciation of cursive calligraphy works 3
Appreciation of cursive calligraphy works 4
Appreciation of cursive calligraphy works 5
What are the difficulties in learning cursive script?
Seal, Li, Kai, Xing, Cao and Cao are the most difficult styles to write. The art of China's calligraphy is line art, which develops continuously, resulting in today's cursive script, which has reached the acme of line beauty.
The difficulty of cursive script is that cursive script combines all kinds of brushwork of seal script and regular script, but it is invisible. In this regard, Liu Xizai said well: all the strokes of cursive script should be transferred to other books, but the strokes of other books should be understood in cursive script. .
The difficulty of cursive script lies in the continuous and close echo relationship between the pen and the pen, the knot and the knot, and the line and the line. Occasionally, there is no connection, but there is a continuous blood.
The difficulty of cursive script lies in the change of a font or homonym. There seems to be no pattern? , again? What is the difference? , there are strict limits of change. Like what? Go away knowing it? Wait a minute.
The most difficult thing in cursive script is to express the writer's quality, personality, temperament, experience and thoughts and feelings through the form of lines. Liu Xizai said in Introduction to Art? A person who writes a book is like a scholar, like his knowledge, like his talent, like his ambition, in short, like a person? . The deeper and stronger the expression, the higher the artistic realm.
There are many difficulties in cursive writing, especially Cai's On Calligraphy. Package Chen Shi once? Claiming to be quite secretive in calligraphy? Still say? Only cursive script is the hardest? . The cursive script itself is correct. It is really difficult to learn and establish characters by preparing its bones with seal script and standardizing its methods with regular script. Faced with these extremely difficult and intractable problems, I believe that as long as we are willing, brave and persistent in practice and exploration, we will certainly reach the other side of the ideal gold.
Three principles of cursive script
Although the composition of cursive script is difficult to shape, it also has its own principles to follow.
First of all, power runs through.
Cai Yong said? The potential to the deep valley, the potential is unstoppable. ? To make a static word vivid, you must say it? Potential? . Trends are developing, flowing and changing, so Cai Yong thinks that writing trends should come and go naturally and irresistibly. This? Potential? Is it? Blood? 、? Pork ribs? , is the root of the formation of composition momentum, but also one of the reasons for the formation of cursive composition? . Zhang Tang Huai Guan made it very clear in the "Introduction":? The text of the word? Wherever the pen tip goes, it is intermittent and connected by blood. ? This sentence is most suitable for grass. Although sometimes stippling doesn't do linking, it still needs to be linked. Every word. The same is true of a line. You should be able to take it up and down, look around, get together, and have no distractions. The continuity between words mainly depends on the oblique change between upper and lower words, which shows dynamic beauty on static paper. Liang Qing Shu Tong said? Qi must come from familiarity, its own potential, its size and length, and by the way, it naturally flows into one. ? Therefore, the motivation still comes from the skill of using a pen. If the pen is stagnant, stiff and stiff, it is impossible to talk about it, let alone smooth. Therefore, the art of calligraphy can only be effective if it is in power, and it can only be effective if it is effective and fascinating. The cursive writing is the writing spirit and temperament between ecstasy and handy. The posture is changeable. Floating like a cloud, agile like a dragon? 、? Rushing through the waves? 、? A hundred thousand bows and arrows? These adjectives, which are common in calligraphy, all express feelings with things in an unpredictable dynamic. Because the cursive script is not fixed, you can freely imagine and think about the sky.
Second, complicated changes.
The intricate changes in cursive composition are indescribable. Simplification refers to the size of words, the density of strokes and the accuracy of strokes. Huai Su's Autobiography and Zhang Xu's Four Ancient Poems are full of intricacies, and their composition is often based on? Sleet? Metaphor. Such as fallen leaves, dazzling, but the leaves are extremely regular, irregular in the rules, and visually moving. Careful scrutiny, every word is lying quietly on the paper, untouched, which is the artistic effect caused by its intricate changes. The overall effect of forming cursive script is: full of paper hovering, flying, full of inner gas, very affectionate, very romantic and irresistible passion. Ding pointed out brilliantly in The Essence of Calligraphy:? In a word, the structure of truth is dense, and the structure of grass is sparse, but in the whole picture, the structure of truth is sparse and the structure of grass is dense. ? As far as people are concerned, cursive script is the most distinctive, which can best meet people's psychological needs of seeking differences and attract people's attention.
Third, virtuality and reality are innate.
Cursive script should be? Virtual and real? . ? Real? Refers to the stippling on paper, that is, the black place with ink; ? Virtual? Refers to the blank space other than stippling on paper, that is, the blank space without ink. Lao Tzu's day:? Know white and keep black? , refers to the philosophical reality, is a way to understand and reconcile the contradictions of all things in the world. When used in calligraphy, it is necessary to adjust the relationship between black and white. If it is too dark, it will be a mass of ink, which is suffocating; If it is too white, it will be empty, and the gas will be slack. What else should be in the cursive script? Beauty of light transmission? The elegance of his works often lies in? White? The wonderful use of, that is, in? Virtual? To reflect the charm and elegance of calligraphy art. Deng said? Calligraphy and painting can be done in sparse places, but not in dense places. They are often considered to be black and white, and curiosity comes out. ? How to deal with cursive script? What is virtual reality? ,? Real is empty? There is reality in the virtual, and there is emptiness in the real, which complement each other, making words and words and lines integrated and nuanced. So Liu Xizai said:? The ancient cursive script, with few blanks and far spirit, has many blanks and dense spirit. ? More blank space reveals its density, which lies in the alternation of line thickness, the change of stroke opening and closing, and the disorder of font size, which constitutes the composition effect of virtual and real. The characters are interspersed with each other, the lines compete with each other, and the interspersed places are crowded and embraced, so that the places that are avoided echo each other from a distance and are aboveboard, which embodies the artistic style of cursive script that is wild, magnificent and freehand. The cursive scripts of Huai Su and Xu Wei are the most typical. Virtual and real are contradictory bodies, and any party out of control will make the contradiction stand out. Space is sparse and boring. But virtual reality is relative. Without virtual reality, there is no reality, and vice versa. Contradictory parties must depend on each other to exist and change. So in the end, there must be reconciliation, so that both sides of the contradiction violate and do not commit crimes. Harmony is different, change is not chaotic, and works will have a harmonious beauty. If we can command contradictions in the process of conflict and harmony in cursive script, we can have a well-thought-out plan, so that the works can be dangerous but not strange, natural and unrestrained, detached from the carving, transformed into nature, novel and still obey the law, which is called a master.