Regular script is the main writing style of Chinese characters. Kai is a model and a standard font. Fountain-pen regular script has the following characteristics:
1. Pay attention to the use of pens. The strokes of fountain-pen regular script include Teton, hidden dew, square and circle, fast and slow and other pen methods. Different ways of using pens produce lines of different shapes and textures, and different lines require different ways of using pens to express them. The fonts of fountain pen regular script are small, and the thickness of the lines does not change much. If you are not careful when writing, the strokes will not meet the requirements, and the strokes will appear weak, stiff and rigid. Therefore, one must undergo rigorous training to master the method of using the pen.
2. Clear strokes. The starting and ending of each stroke in fountain pen regular script must be clearly explained, neat and standard, clean and neat, and no scrawling or sticking. However, there must be an inherent echo between strokes, so that the strokes can be: orderly, clear-cut, solid and powerful, yet stop and continuous, straight but not stiff, curved but not weak, smooth and natural.
3. The structure of fountain pen regular script emphasizes the balanced distribution of strokes and radicals, a stable center of gravity, appropriate proportions, correct fonts, and compliance with standards. When the characters are arranged together, they should be evenly sized and neatly arranged. Although there are some uneven changes in form, overall it is still neat and tidy.
When practicing regular script, you should work hard on both strokes and structure. Practicing strokes mainly solves the problem of using strokes, with the purpose of producing qualified "parts"; practicing structure, mainly solves the problem of the combination of strokes and radicals, with the purpose of learning structural methods and mastering structural rules, so as to achieve the goal of combining characters Write correct, neat and beautiful requirements.
Characteristics of fountain pen running script
The name of calligraphy began with Wei Heng's "Si Ti Jueshu" in the Western Jin Dynasty. Zhang Huai explained the reasons for the emergence of running script in "Shu Duan": the running script. It was created by Liu Desheng in the Later Han Dynasty. It's just a falsehood in the official book. Keep things simple and popular. It is called running script. Running script already existed in the late Eastern Han Dynasty. From the emergence of running script. Judging from the development process of its formation and evolution through the ages, running script has not been developed into an independent "running method". This is the biggest difference from seal script, Li script, Cao script and Kai script. Running script is impotent but has style. The biggest feature is the use of continuous strokes and sparse strokes. But no or less use of grass symbols. Retain more of the legible structure of traditional Chinese characters. In order to achieve the practical purpose of being able to write easily and quickly and being easy to understand. Facilitate the circulation and exchange of text information. In addition, running script has the characteristic of tightly adhering to other calligraphy styles. Therefore, Sun Guoting's "Shu Pu" said: "The trend changes at the right time. Running script is the key." Running script originated in the Han Dynasty and became popular in the Wei and Jin Dynasties. By the Eastern Jin Dynasty, a highly artistic and exemplary running script style was produced, represented by the two kings. From the Southern and Northern Dynasties to the early Tang Dynasty, the calligraphy world was shrouded in the artistic atmosphere of Erwang's running script style. From the mid-Tang Dynasty to the Song Dynasty, Yan Zhenqing's calligraphy started a new trend. Since then, Su Dongpo, Huang Tingjian, Mi Fu and Cai Xiang of the Song Dynasty were all influenced by him. From the Yuan Dynasty to the middle of the Ming Dynasty. Whether it is Zhao Meng, Zhu Yunming, Wen Zhengming, or Dong Qichang, they all occupy a place in the calligraphy style of the Jin and Tang Dynasties. The period from the late Ming Dynasty to the Qing Dynasty was a leap forward in the development of running script. Its characteristics: first, the emergence of personalized cursive calligraphers with a group nature. Second, under the influence of the ideological trend of stele studies, the style of writing running script using Beibei brushwork appeared. The former is a "shangshi" calligraphy style. The latter is a folk monument style. Running script is a quick version of regular script, and it is said that it began in the late Han Dynasty. It is not as neat as regular script, nor does it have the draft of cursive script. Those with regular script or close to regular script in running script are called "Xingkai"; those with cursive script or close to cursive script are called "Xingcao".
Compared with regular script, running script has the following characteristics:
(1) Reduce stippling: In order to make writing easier, running script has simplified some parts of regular script. Either reduce stippling or merge lines. For example, the word "Word" in the character "Hua" was originally written in regular regular script with seven strokes, while in running script there are only two strokes, eliminating five strokes; the four dots of water in the character "Ran" were changed from four dots to one horizontal line. Three strokes are omitted; the word "near" is simplified from one point and three bends plus one flat stroke to one vertical and horizontal fold, and several bends and twists are omitted; the middle of the word "Buddha" was originally a deformed "bow" The characters are now replaced by horizontally bent hooks, eliminating two bends at once. Reduce stippling and use most of the radicals of characters.
(2) Flow of strokes A: Add hooks and threads: Writing regular script requires clear stipples and writing one stroke at a time, while writing running script can connect the stipples and add hooks and threads between the stipples. Pull the thread.
Hooking is to write short hooks on the stipples without hooks, such as horizontal strokes of the word "古" and strokes of the word "好"; stringing is to use thin strokes between the dots that are not connected before and after. The dots in cursive script are connected with each other, such as the dot paintings in the middle of "Si'yu" and the two points on the center and right of the word "心". There are hooks and pull threads between the stipples in running script, which makes the writing style flow and the mood lively. But what needs to be paid attention to is that There should not be too many hooks and pulls, otherwise the pen will look unclean and the shape will not be beautiful.
B: Change the writing stroke order: The cursive writing stroke order is the same as the original one. The stroke order of regular script is different. For example, the stroke order of "Qiu, You, Rong, Ban" is in regular script and in cursive script. (3) Flexibility in using the pen: The pen used in running script is more flexible than regular script. The same stipple writing method is not very restricted. For example, after the horizontal stroke of the word "ge" is written, you can either turn the pen from the right side to write Ge hook directly. Go up from the right side and make a small circle before writing Ge Gou; for the floating Gou Gou of the word "Ye", you can turn the pen from top to bottom, or write directly from the bottom; the "木" next to the word "木", generally After writing the horizontal and vertical strokes, the strokes should be written from the left to the left, but it also makes sense if the pen is turned from the right to write the stroke. As for the pick next to the handle, if it is written in regular script, it is good to write the pick from the top to the front. It is better to use a string to connect the vertical hook and the oblique hook to write. (4) The posture is changeable: running script is a font between regular script and cursive script. It has a wide range of activities and rich expressive power. One character often has more than one character. There are several ways of writing, and the postures are varied, such as the four endings of the word "shi" and the four beginnings of the character "花", which can be written in a closed or open way, neat or freehand, similar but different, diverse and unified. It's interesting. The variety of postures is the advantage of running script, which is beyond the reach of regular script and cursive script.
The so-called hard-pen calligraphy is to use pens, ballpoint pens, dip pens, pencils, bamboo pieces, Plastic pens and other tools are used to express Chinese character writing skills and the methods and activities of the author. The resulting works are hard-pen calligraphy works. Hard-pen calligraphy has dual characteristics, namely artistry and practicality. Calligraphy must not only pursue high-level artistic standards, but also pay attention to its practical value. To reflect its practical value, it must be correct, standardized, and well-proportioned in writing. If there are consecutive typos in a work, it will be wrong. The characters are cluttered and flying freely, even if you have superb brush skills, it is just a "ghost painting". Only by reinventing the calligraphy based on its practicality can it be possible to create perfect works. In terms of artistic treatment, the characteristics of hard-pen writing should first be reflected in its simplicity, smoothness, clarity, and naturalness, and then the profound meaning should be achieved, that is, the author's writing skills should be fully demonstrated with limited pen skills. To be specific, a good freehand calligraphy work should have the following three aspects; first, it has a vivid, rich and unique charm, and second, it has a structure that is unconventional and beautiful in shape. The third is to use the brush with clear strokes, natural movements and a sense of rhythm. The relationships between these three are interrelated and each one is indispensable. In order to achieve both physical and spiritual performance, it is essential to practice the traditional method. This is because our country's calligraphy art has a history of thousands of years and has reached perfection in writing Chinese characters. It can be said that any kind of calligraphy can be a model for hard-pen calligraphy. However, due to the limitations of the performance of the hard pen itself and practical needs, it is necessary to selectively practice the ancient Dharma stickers. The works of famous artists such as Wang Xizhi, Chu Suiliang, Mi Fu, Zhao Mengxu, etc. can all be regarded as the best examples. Through copywriting, one can not only make the structure beautiful and conform to the law, but also learn how to use the pen and gain its spirit. On the other hand, the strokes in brush calligraphy copybooks are clear and the changes in strokes are obvious, making it easy for beginners to understand how to use the brush. However, the strokes in hard-pen calligraphy are slender, the strokes change slightly, and there are printing distortions, which often make it difficult for beginners to understand and lead them astray. Therefore, traditional calligraphy should be used as the main object of hard-pen calligraphy practice, while hard-pen calligraphy can be used as an auxiliary reading for reference and reference. How to choose a copybook suitable for your own study? Generally speaking, personal interest is the most important. If someone else chooses a copybook for you and you don't like it, it will be difficult to write in it. On the other hand, if you like it very much, you will get twice the result with half the effort. Here, there are two important things. One is to choose among the works of famous regular script masters of the past dynasties, and the other is to choose a good version.
If there is a photocopy of the original work, there is no need to use an engraved stone rubbing; if it is a stele rubbing that only has rubbings, then you should also choose the ink of the same author or the same era for reference. Although it is a work that has been engraved, the shape, force and speed of the strokes are very different from the original work. For example, when writing a Wei stele, it is best to choose a scripture written in the Northern Wei Dynasty as a reference. This can avoid using a hard pen to imitate the traces of chiseling and erosion during the writing process. The process of posting can be roughly divided into three stages. The first stage: compare with the original post and write without missing a word. The requirement at this stage is to be able to master the basic brushwork and frame structure features proficiently, and to be able to memorize the characters in the template more accurately. The second stage: While persevering in writing the original text, you can practice writing poems that interest you by using the brushstroke structure methods you have learned. The requirement at this stage is to be able to memorize the original text in full or in part, and to be able to achieve both form and spirit, and to be able to show the characteristics of the inscription in the practice. The third stage: While continuing to practice creative writing, he also studied new inscriptions based on his own interests, extensively studied the regular script and running script materials of the past dynasties, and studied the relationship between regular script and running script. The requirement at this stage is to be able to create relatively mature hard-pen calligraphy works and initially form a personal style. Sticking to this stage of practice and achieving this goal is the key to success. Throughout the process of posting, there are two things that are always indispensable. First, we should frequently and repeatedly observe, analyze, and speculate on the inscriptions we have learned; second, we should continue to extensively read and appreciate outstanding works in various categories of literature and art, have extensive contact with society, and go deep into life. Improving aesthetic ability and strengthening moral cultivation are what people often call "word external skills".