Copying the inscriptions is the only way to learn running script, and it is also an effective method to learn running script. Without copying the inscriptions, it is like water without a source or a tree without roots. There are many running script inscriptions handed down from ancient times, and there are also many running script works by modern calligraphers. So, how to choose the inscriptions?
In general, although both modern running script and ancient running script can be learned, the running script used as a model must be of a high level, in line with the calligraphy learner's temperament and the needs of the calligraphy learner. Works consistent with the style of regular script.
First, "take the law first." We must choose inscriptions that are sophisticated in writing, lively in expression, elegant in style, graceful in charm, and rich in taste as objects of study. We cannot just pick any copybook as a model. When learning running calligraphy, one can either learn from the ancients or go back to the ancients and learn from others. However, there are many copybooks written by modern people, so you should choose carefully.
Secondly, because everyone has different tastes and hobbies, things that don’t suit your taste often don’t like, and things that you like often suit your taste. There are many styles of running script inscriptions, some are known for their beauty, some are spicy, and some are powerful?... So you should choose the station that suits your taste according to your own preferences, but it must also meet the selection criteria mentioned above. Great post.
Third, one thing to pay special attention to is that the style, pen and structure of the cursive calligraphy you choose should have an inheritance relationship with the regular script you have learned, and the style and structure of the calligraphy should be unique. consistent. In this way, the writing style and structure of regular script can be easily transferred to running script. For example, if you study Ouyang Xun's regular script, it will be easier to learn from Wang Yizhi, while if you study Yan Zhenqing's "Magu Xiantan Ji" in regular script, and choose Wang Yizhi's "Lanting Preface" in running script, then these two completely different styles will not work for you. For calligraphy students who do not have a deep foundation in calligraphy, it is almost necessary to set up a new stove, and it is difficult to switch to running script using pen and structure.
Fourthly, when choosing a Dharma tie, you should also pay attention to the style of the Dharma tie that matches your own taste and personality. For people with an introverted and quiet personality, it may not be the appropriate and best choice for those who choose a bold and vigorous style of Dharma tie to study.
The following are two classic running script title tablets and postscripts recommended for your reference.
Huairen's "Preface to the Holy Teachings of the Collection of Kings"
Inscriptions on running script in the Tang Dynasty, Huairen, a monk from Hongfu Temple, collected the calligraphy of King Xizhi of the Jin Dynasty. After the preface and notes, the "Heart Sutra" translated by Xuanzang was engraved, and the names of various officials were embellished, engraved and engraved. It was established in the third year of Weiheng (672). The collection of calligraphy into tablets began in Huairen, and most of Wang's calligraphy was passed down through this method. The stele is in the Forest of Steles in Xi'an, Shaanxi Province. There were many reprints in the Ming and Qing dynasties, and most of them are in the Song Dynasty, which are excellent.
When studying this stele, we should not only pay attention to the elegance and elegance of Wang's calligraphy, which is superior in rhyme, but also point out that because it is an carved calligraphy, it has more square and folded pens than ink, and its sense of strength is superior. In addition, since the characters are collected into a monument, there will inevitably be problems with the composition (inability to move Qi, etc.), and slight adjustments can be made during practice.
Wang Xizhi's "Lanting Preface" (Shenlong version)
Wang Xizhi wrote and wrote it in the ninth year of Yonghe (353), the ninth year of Emperor Mu of the Eastern Jin Dynasty. "Lanting Preface" is also called "Lanting Collection Preface", "Linhe Preface", "Yantie", etc. The full text is 28 lines and 324 words. It has the reputation of "the best running script in the world". There are many copies of "Lanting Preface", among which Feng Chengsu of the Tang Dynasty made a copy on white linen paper, also known as "Shenlong Lanting". Guo Tianxi of the Yuan Dynasty praised Feng Chengsu's copy of the original: "The calligraphy is elegant, the ink colors are brilliant, the beauty is stunning, the eyes are moved, the twists and turns are meticulous, and it is a first-class authentic work." The post is now in the collection of the Palace Museum, Beijing.
When practicing, pay special attention to the loops, connections and reflections between lines. Among them, we should not only pay attention to the traces of lines on the paper (pulling threads), but also appreciate the (invisible) subtle pen movements completed in the air. At the same time, attention should also be paid to the spatial relationships at three levels: within the glyphs, between characters, and between lines.