Appreciate the calligraphy font tiger symbol picture 1
Calligraphy font tiger picture 2
Calligraphy font tiger picture 3
Calligraphy font tiger picture 4
Calligraphy font tiger figure 5 calligraphy brushwork? Four degrees?
First, speed: the relationship between speed and irritability in the later period
Yan Zhenqing wrote twelve meanings of Zhang Changshi's brushwork, saying? Do you know what a plug is? Say: Isn't it taking the lead, determined to win, invincible, invincible, invincible? ? It is the speed of writing. ? Late? With what? Speed? It is based on the speed of the pen. The speed of the pen is combined with the positive and negative of the pen, which is reflected in the pen head. Disease, astringency? Sick faster, astringent slower, but astringent is not only the speed, but also the writing posture. What's the name of this swing that can't be seen in strokes, but affects the shape of strokes and can be inferred from the shape of strokes? Gestures? . Disease and astringency are relative, but they exist relatively.
Let's look at Cai Yong's nine potentials in the Eastern Han Dynasty: illness: out of age, but also in a tight pen. ? Grab a pen: use it in front of the mountain. ? Sese potential: the method of close warfare. ? Horizontal scale: vertical strangulation rule. ? Explain which strokes the disease and astringency are used in. After talking about illness, I will talk about pens; After the astringency, let's talk about the horizontal scale right away. This reveals that the scanning pen uses illness to draw strokes vertically. Horizontal scale? It is astringent. Cai Yong's daughter, Cai Yan, also said in "Talking about the Stone Chamber's Magic Pen" that illness and astringency are the foundation of calligraphy. When my father made eight points, God gave me the brushwork, saying:? There are two ways in the book, one is to get sick; The second is astringency. When you have two methods of illness and astringency, the book is wonderful. Husband's book is human nature. The sick can't make it slow, and the slow can't make it slow. ? In Qing Dynasty, Kang Youwei's "Guang Yi Zhou Shuang Bian" goes:? The method of writing is ten late and five urgent, ten curved and five straight, ten hidden and five out, ten liters and five volts, all of which are wonderful. But Zhong Lang is the best, and his theory about your illness is very awkward. ?
Jin Wang zhi's "Mr. Baiyun's book formula": Putting the pen in front is due to nature, mellow strength and astringency. ? Reveal the dialectical relationship between disease and astringency. The true story of Feng Wu's calligraphy in Qing Dynasty:? Eight bodies are sick and astringent. If you are sick, you will be sick. If you are not sick, you will have no electricity. If it is appropriate to be astringent, it will be astringent, and if it is not astringent, it will be sick. The disease is in the heart, shaped in the words, handy and wonderful. ? It is emphasized that the use of illness and astringency should be appropriate, and only the freedom of mind can have the freedom of technique. Liu Xizai later vividly described the free use of this unsmooth brush stroke. The outline of the book says: The ancients talked about using a pen, but it was nothing more than illness. The astringency is neither too late nor too fast. There is no such thing as being slow enough to get sick! I am familiar with the saying that the pen is astringent, but I don't know why it is astringent. Only when the pen wants to do it, if there is anything to refuse, try your best to fight it, so that it will not be astringent. The astringent method is the same as the battle button. The first battle button is visible and tangible, and it can be effectively transformed into a disease. If it is not astringent, it will be confusing. ? Liu Xizai distinguished and explained the relationship between astringency and tardiness, especially astringency. What if something can stop it? What is this experience? Yan Guan? 、? Against the front? Friction and resistance between brush and paper. The ancients used it? Horizontal scale? 、? Struggle hard? 、? Talking about your husband? 、? Tapered sand? 、? Leak marks? 、? Countercurrent punting? 、? Paddle? Such as image metaphor to express and describe this kind of pen experience and feeling, is it accurate? Set the best image in your mind? .
A note given by Han in Tang Dynasty:? But if it is light, it will be heavy, and it will be astringent. Its way is mainly Tibetan front. If it is not astringent, it will be dangerous and unprovoked; As for being too light and not too heavy, it will be slippery and vulgar. ? (The hidden front here refers to the hidden front in the pen, that is, the anti-center stroke. ) Han put forward requirements for writing methods and writing methods. Bao in Qing dynasty also summarized how to be astringent from the brushwork. The book "Art Boat and Double Drum" holds that people in the Northern Dynasties wrote books in a solemn and harmonious way, following the trend. Marriott Qi Li may be sharp, and Qi Li may be sharp? The concept of long history lies in the dispute between men and women, and Dongpo's metaphor of punting on water is also realized here. ?
How to make use of illness and astringency is related to the quality and vitality of strokes and is the core of brushwork. These two potentials involve not only the speed of using the pen, but also the strength of using the pen. They are the condensation of speed and strength, and all brushwork eventually ends in these two potentials. There is a certain correspondence between speed and convergence, but it cannot be simply corresponding. The speed of brush strokes is always accompanied by strength. The real astringency depends on the writer's familiarity with brushwork and his ability to control the brush.
Second, the strength: the relationship between fineness and lifting.
Yan Zhenqing wrote twelve meanings of Zhang Changshi's brushwork, saying? Finger bones, what does the child know? Say: Isn't it that the pen is full of bones and muscles and the font is natural and masculine? ?
The bones and muscles that Yan said are exactly where the pen power lies. At the end of the article, the importance of brushwork in calligraphy is profoundly and vividly explained: when he uses a pen, he often wants it to pass through the back of the paper, which is extremely successful. True grass is as perfect as painting sand. Yes, it can be traced back a long time, just like the ancients. ? Come back through the paper It refers to a visual effect and psychological effect revealed by the strong texture and brushwork of strokes. The strength of strokes is an important measure of the quality of strokes. The lifting of the brush has a great relationship with the strength of the strokes. The strength of strokes is reflected in lifting strokes, which is light and heavy. Lifting pressure is an important factor affecting the performance of pen power, but? Thick is not important, thin is not light, thin to the back, life and death. ? Thin strokes do not mean weak, thick strokes do not mean strong. The key to understanding lifting is right? Pen power? Understand. Wei Shuo in Jin Dynasty said:? People who are good at writing are skinny, but those who are not good at writing are human flesh. The skinny and fleshy one is called Jin Shu, and the fleshy one is called Mozhu. Strength and strength are sacred, weakness and muscle deficiency are morbid. ? The sensual person, that is, the thick strokes without texture formed by mechanical and physical force pressing the brush, is the sick pen form in calligraphy. Therefore, calligraphers of all ages have repeatedly emphasized the importance of brushwork, and even said that whether calligraphy can be passed down from generation to generation depends on whether there is brushwork in the strokes.
The strength in calligraphy is not only reflected in the strength of physical strength, but also in the mechanical strength of writing brush. Force? Originated from the texture of strokes, the appearance of this texture has a considerable relationship with the brush gesture behind the brushwork. The brush appears on the paper in the form of strokes, and the method of operation is called brushwork. What is not shown on paper in the process of brushing is actually a part of brushwork movement, and the movement state of the pen that is not shown on paper affects the strokes shown on paper, which is called brushwork. Through the strokes seen on the paper, we can infer the waving process without real image and the virtual image route of the pen. Virtual and reality coexist. What falls on the paper is the real image, that is, the strokes. When it rises into the air, it is a virtual image, which is a gesture. In other words, when gestures are obvious on paper, they are strokes. When a stroke is hidden in the air, it is a gesture. Gestures and strokes constitute two parts of brushwork, namely virtual brushwork and real brushwork. The strokes of the virtual image give birth to the strokes of the real image, every detail? Law? What is profound behind this? Meaning? , standing? Between skills and roads? Then, can the art of calligraphy be realized? How advanced is technology? .
Third, the angle: the relationship between oblique and straight.
Yan Zhenqing wrote twelve meanings of Zhang Changshi's brushwork, saying? The husband is smooth and steady, what does the son know? The servant thought for a moment and said, Taste the long history of Jiuzhang. Every painting is a plane painting, and there must be images in both vertical and horizontal directions. Isn't that what it means? A long history is a smile:? However! ? Say it again: The husband is straight, what does the son know? Say: Didn't you say that straight people can stand upright and can't make evil songs?
The problem of straightness mentioned here involves the angle of writing. The oblique stroke is caused by the change of the angle, direction and strength of the stroke. The change of the angle and direction of strokes is called? Straight man? . Biography uses a large number of straight pens; Official script also uses a large number of relatively straight strokes; Da zhuan and cursive script used a lot of tortuous strokes; Regular script, especially Weibei regular script, uses a lot of oblique pens. Different styles of writing emphasize straightness. The same style, different calligraphers also have different emphasis on straight pen. For example, Yan Zhenqing's regular script "The Story of Magu Xiantan" mostly uses straight pen and turning pen, while Ou Yangxun's regular script "Jiuchenggong Li Quanming" mostly uses oblique pen and folding pen. The regular script structure influenced by the official script structure also adopts the flat-drawing and wide-knot structure, such as the Diamond Sutra of Taishan Mountain Valley and the regular script of Zhong You's Recommended Season Straight Table. Wang Xizhi's regular script and cursive script changed the ancient law, more? Follow the trend? And use it? Wei Jie, Tang Jie and later regular script and cursive script were mostly adopted? The method of drawing a tight knot diagonally. The same calligrapher has different emphasis on the use of straightness in different periods. At the age of 44, Yan Zhenqing's regular script "Duobaota" was mostly oblique and straight, while at the age of 72, the strokes of "Yanjia Temple Monument" were generally straight, but there were many radian curves and strokes in it. It can be seen that the habits and orientations of calligraphers have different influences on the use of "straightness".
Used for calligraphy? Straight man? To show? Positive? And then what? Straight man? Stroke, with? Hey? And then what? Qu? Represents a stroke that is not straight. The strokes in calligraphy? Straight man? It is not the straightness of physical meaning, but the straightness of visual and psychological feelings.
Bao art ship double episode:? Most of the foothills are straight out, but if you step on them, the measurement will be all curved. If the accumulated soil is a peak, it fluctuates slightly, but its gas is straight. If you are from Sichuan, you must make a song, but when you walk along the shore, you will see it straight; If the Yangtze River and great rivers are natural, they look hundreds of miles at a glance, but they are like strings, but they have never seen the straight waves sailing. If you are not so enthusiastic and proud of the shape of your book in the mountains and rivers, it is almost called this. ? From the metaphor of this image, we can see that the so-called straight board and harmony music are relative, and the straight board in calligraphy is more of a kind? Potential? Straight, this straightness is not physical absolute straightness, but a relative straightness, this straightness? Show strength, movement, and be formed by it? Momentum? The beauty of. ?
Bao, go on? Straight man? Can the position and function in calligraphy be recognized by experts? Straight man? It is related to whether the original can be identified; For a writer, can it be done? Straight man? It is related to the vitality of calligraphy. ? But if we can distinguish right from wrong, we can seek between the tangible and the intangible, and get a glimpse of the original works of the ancients. The trace of roughness lies in softness and hardness. Every character's life will be soft and moist, and his death will be hard and dry. The same is true of vegetation, which is plump and round when soft and flat when hard and dry. Therefore, the truth lies in temperament, reaching form, being round in form and based on temperament. ?
If you use physics horizontally and vertically, it will inevitably be dull. What were the requirements for pavilions in the late Qing Dynasty? Wu, Fang and Guang? It has the disadvantage of being plain, as Zhou Xinglian pointed out in Linchi Humble Opinion in Qing Dynasty. The ancients wrote books and took shape from god; Books today are very different in appearance. ? Recently, the scholar's pen and ink, Taige articles, side layout, and strong skills. In fact, they only wrote regular script, not real regular script. ? It can be seen that the concept of horizontal and vertical in Qing Dynasty pushed calligraphy theory in Tang Dynasty to a dead end.
How can I be straight but not straight? Master Xu Wuwen said in On Chu Suiliang's Calligraphy:? Why can this rich and changeable stippling be combined into a harmonious and unified whole at will, instead of being contradictory and chaotic? The secret lies in two words: strength and potential. Force is the pen force, that is, the force generated by Yin Yinni mentioned earlier. The pen is steep and the pen is fast. In the process of writing, the horizontal drawing is uneven, the vertical drawing is not straight, and the pen is neat and not sticky. The posture is a gesture and posture, and it is a posture that is good at exerting strength and controlling writing priorities. The change of stippling is unified by this force and potential. ? Emphasize the movement of strokes in the process of writing, which depends on the trend of using pens.
Fourthly, extension relaxation: the relationship between stroke length.
Yan Zhenqing wrote twelve meanings of Zhang Changshi's brushwork, saying? The loss is more than enough. What does the child know? Say: Isn't it interesting to be long and short, which often makes the meaning more than enough? ?
Yan answered the dialectical relationship between the length of strokes in calligraphy. Is the fun long or short? Law is carried by will, just as it is born by law. The extension of strokes is restricted by strokes and the expression of strokes. Therefore, in calligraphy, it is often emphasized that although the strokes are broken, the meaning is still unfinished.
In the Song Dynasty, Huang Tingjian deeply understood the essence of Yan Zhenqing's ci, repeatedly emphasized the meaning and rhyme of calligraphy, and practiced this idea through lifelong efforts. Its "postscript" cloud:? The demand for western languages is both short and long, and it is sincere. There are several crosses in Changsha ancient post. It is better than this post. Nowadays, people write a lot, but the meaning is not enough. ? Cao Zhang has a strong sense of official script, and there are many short strokes when he writes some pictures. Five hundred years later, when Liu Xizai paid attention to Suo Jing Cao Zhang again in the Qing Dynasty, he supplemented this. His book outline points out that there are two methods in the book: vibration and photography. Suo Jing's brushwork is short and long, and he is good at photography. Lu Jianzhi's work is intensive and he is good at vibration. ? As a pair of corresponding methods, vibration? Is it a tangible extension of the pen gesture rhythm? Photos? Is it a gesture rhythm? There are more silent complaints than vocal complaints? Invisible rest; ? Vibration? How about letting nature take its course? Photos? Okay, is everything around? Meaning? And work.
Dong Qichang's calligraphy was described in Liu Zhai Ji by He Sanwei in Ming Dynasty. This post is a copy of Mi Xiangyang's book "Qin Taixu Longjing Ji", mostly intentionally or unintentionally, naive and structured. There are always endless people, dragons, snakes and clouds flying between their wrists and fingers. This book is the best. ?
Why is this happening? This goes back to what the ancients thought of Gao Gui? Image theory? . Zhouyi notes:? Confucius said:? Books are not full of words, words are not full of meaning, and the meaning of saints is invisible? Confucius said:? Sages do their best to set up images and divinations. The dance of drums is full of spirit. ? The relationship between meaning, image and spirit mentioned here is mapped to calligraphy, which is the relationship between brushwork, brushwork and brushwork. The application of brushwork is subject to the performance of brushwork, and the construction of brushwork is dominated by brushwork. The use of brushwork, the length of strokes, the collar behind it is the meaning of strokes, which can communicate with the spirit. Therefore, calligraphers throughout the ages took the brushwork as the highest direction, which is the application of Heaven in calligraphy realized by saints in Zhouyi.
finally
Calligraphy is based on brushwork. The brushwork mentioned in the theory of ancient books includes two kinds: writing and brushwork. The brushwork is centered on the starting and ending strokes and the strokes, and the essential part is the stroke problem. Angle and length of strokes; The strength and speed of the pen are the key to writing. In the pen? Four degrees? In the change of rhythm, there are various brushstrokes, from which one? Four degrees? The diversified brushwork rules created by reform are unified in the expression of brushwork intention, brushwork posture and brushwork strength.