Appreciation of Yao's exquisite running script
Yao Exquisite Running Script Calligraphy Picture 1
Yao Exquisite Running Script Calligraphy Picture 2
Yao Exquisite Running Script Calligraphy Picture 3
Yao Exquisite Running Script Calligraphy Picture 4
Yao's profile
Yao, male, 1934, born in Heishan County, Liaoning Province, is a famous contemporary calligrapher, educator and film artist in China. Calligraphers have been recommended to design and write subtitles for more than 300 films, such as Young People in Our Village, Five Golden Flowers, Qingsongling, Cotai Strip, Shajiabang and Zhifengzhan. 1980 joined the China Calligraphers Association and became the first member. He is currently a professor at the General School of China Calligraphy Correspondence University, a postgraduate tutor of calligraphy at China Renmin University, an academician of Ziguangge Painting Academy of the Central State Working Committee, director of the China Federation of Literary and Art Circles Painting and Calligraphy Art Center, director of the China Association for the Promotion of Cultural Exchanges for the Elderly, honorary consultant of the Singapore * * China Shenzhou Art Academy, chief honorary dean of the Central Plains Painting and Calligraphy Research Institute, and intellectual property cultural ambassador of China. Published Yao Calligraphy and China Famous Calligrapher? Yao's Album, Artist? Yao album and many other monographs.
1958-199 1 used to be a senior subtitle artist in changchun film studio.
1989 Personal Calligraphy Exhibition was held in China Art Museum. At that time, Mr. Zhao Puchu, Vice Chairman of Chinese People's Political Consultative Conference, President of the Chinese Buddhist Association and Vice Chairman of the Central Committee of the Democratic Progressive Party, wrote a name for the exhibition, and Cheng Siyuan, Vice Chairman of the National People's Congress, personally attended the exhibition and cut the ribbon.
199 1 year transferred to Changchun university as a professor. 1998 and 1999 were rated as 100 calligraphers by the Federation of Literary and Art Circles for two consecutive years.
200 1 at the invitation of CCTV, for? The sunset column offers calligraphy and painting classes and calligraphy lectures for the elderly.
In 2005, on the occasion of the 0/00th anniversary of China Film/KLOC-and the 60th anniversary of changchun film studio, it was awarded? Honor award for meritorious service? .
In 2006, Changchun University established Yao Calligraphy Art Museum to exhibit its main representative works.
In 2008, he was hired by the State Property Office as? China intellectual property cultural ambassador.
Running script and the movement of calligraphy pen
The movements of the pen can combine beautiful, powerful, simple and childish works, so what is the key to using the pen? Of course, it's the brain, but the idea of the brain is accomplished through the reasonable cooperation of fingers, wrists and arms. Fingers are too thin and delicate, and exquisiteness may be acceptable, but overall, it is not enough. No one can write complete Chinese characters. The arm is too thick, writing a list may not be satisfactory, but it is not satisfactory to be perfect. Then only the wrist is in the middle, which can play two roles. In particular, the agility and exquisiteness of the running script sometimes depends entirely on the movements of the wrist. Wrist movement means that in the process of writing, the wrist should consciously command the brush to swing left and right, and slowly press it down to change the illusion.
So that the writing effect is smart and smooth. For example, when writing a hundred words, after the pen falls off the paper, the wrist must be tilted to the left and pushed to the right. At the end of the horizontal direction, the wrist must swing to the right immediately. After lifting the pen, it will press inward to the small vertical fold and lift the front to the right, so that the rotating belt will lift the pen inward for some collection. This series of movements are wrist rotation from left to right. If you only move the pen by your arm, it is obviously difficult to accurately write the lines with changing light and heavy, and it is even more difficult to accurately show some dexterity and write within half a foot. Of course, if you write Berberis, you need the help of your arm, and the control pen is done by your wrist. Therefore, wrist movement is a crucial exercise course in cursive writing practice. Of course, the coordination of wrists, arms and fingers can not be ignored. Some friends like to write freely and express freely, which is understandable from the perspective of creation, but temporary copying should not be the case.
Because the temporary study of calligraphy should be to learn the good words of predecessors, master them, make them become their own skills, and overcome their own shortcomings. This is also the attitude that should be adopted in learning any subject. Why did you come? I must be aware of my own shortcomings, but I can't achieve my goal if I don't pay attention to my methods when I study. I often see some friends writing posts for a long time, and the words haven't changed much. The reason is nothing more than a temporary learning method. It is common sense to write on the spot. Pro is to compare the font on the copybook with its stroke method and word formation law. If necessary, we should collect some words from tissue paper and memorize them and apply them to pens, so as to change our writing habits, instead of just copying the text content on copybooks. Some comrades waste a lot of time and energy over and over again, but in the end they are still the same, and there is no progress. I'm afraid this is not caused by copying books.
In posting practice, beginners or comrades who don't have a deep understanding of the original post may wish to enlarge the words, so as to better understand and analyze the brushwork and structure of the original post words. For some people who have mastered the temporary learning method, it is appropriate to use the original whole article, because for them, the brushwork and word formation rules are no longer a problem, and it is more important to understand the charm, composition or spirit and style of the original post. For beginners of calligraphy, we should carefully observe, analyze and experience the appearance, size, convergence and divergence, right and wrong, stroke fluctuation, retraction, length, angle, Fiona Fang and echo of the original post in clinical study. My experience is to select some words with representative structure and strokes and analyze them according to the above aspects. After you have an impression, you can start learning temporarily, then compare it with the original words, find out what is not in conformity with the original post, and then compare it with the original post. Repeat this several times, and gradually get close to or similar to the original post, so you can move the original post and recite it again. Over time, nature will be fine? There are words in the chest and words in the pen? Yes