Construction refers to the method of arranging and arranging the echoes and relationships between words and lines and lines in the entire work. That is, the "white cloth" of the entire work. Also known as "big rules". Chapter structure refers to the overall arrangement of a calligraphy work, also known as chapter structure, and is an important part of the art of calligraphy. For the artistic requirements of a work, it is not only necessary to write every single word well, but also to turn many words into a complete chapter. Regardless of the space between words, between lines, as well as the head, feet, title and seal, an overall design and reasonable layout must be made. How to arrange the contents of the work, how to inscribe it, and how to stamp it are all part of the rules. The structure of the whole article, leading and leading, echoing from beginning to end, is completed in one go, each expresses its intention, the flow of luck, the ups and downs with the situation, the twist of the pen, the clever arrangement of virtual formations, and the emotional expression are all part of the composition. It is also customary to call the arrangement of dots within a character and the relationship between the arrangement of a character and numbers "small composition". Zhang Shen's "General Explanation of Calligraphy" of the Ming Dynasty said: "The ancients wrote just like compositions with calligraphy. The composition, the structure of the chapter, and the structure of the final chapter are consistent from beginning to end. Therefore, it is said: 'One point forms the rule of one word; one character is the master of the final chapter.'" Dong Qichang of the Ming Dynasty said in "Essays on Painting the Zen Room? Comments on Calligraphy": "The ancients regarded the composition as a major issue when discussing calligraphy, which is why the so-called dense lines are dense. I saw Mi Zhi's small regular script and wrote the "Illustrated Notes of the Elegant Collection of the West Garden", which is a Wan Fan. Straight as a string, there must be no other way, but you should pay attention to the rules and regulations in Youjun's "Lanting Xu". , so it is a divine product." It can be seen that Zhang Shu is very important in a calligraphy work. When writing, we must handle the whitening in the words, the whitening of each word, and the whitening between the lines, so as to make the dots and dots stand out. The words echo each other, the words follow the trend, and the lines reflect each other. In this way, the spirit can be smooth and the energy is smooth, exquisite and harmonious, and produce the effect of "gold in the words and jade in the lines". There are generally three forms of cloth: one is vertical rows and horizontal rows, the other is: vertical rows and horizontal rows but no columns (or horizontal rows and vertical rows but no columns), the third is vertical rows and horizontal rows, and they may have "cutouts". It may have the artificial beauty of "gold picked from the wrong place" or the natural beauty of "hibiscus emerging from the water". Chapter law is an important part of the formal beauty of calligraphy art. The pointillism is the beauty of lines, the frame structure is the beauty of local composition, and the composition is the beauty of overall composition. Regular script composition is not complicated, and its main forms include nave, couplets, banners, horizontal drapes, fans, etc. The layout of regular script, the character spacing and line spacing are basically equal in most cases, but there are also cases where the line spacing is greater than the character spacing; they are always written vertically from right to left, and those with a small number of characters horizontally are still written from right to left; modern Chinese horizontal writing is From left to right, this method can also be used under special circumstances, but vertical writing is still better from right to left. From the perspective of composition and form, calligraphy and music are the most similar arts. For example, when creating a running script banner, nave, or couplet, the first character is usually made larger or thicker. I feel that otherwise it would not be enough to command the command. Full article. The overall beauty of the composition. Ancient people commented on calligraphy like this: "If there is merit but no nature, the spirit will not be born; if there is nature but no merit, the spirit will not be real." Calligraphy creation, like painting, pursues "both form and spirit". Naturally, calligraphy appreciation should also take "both form and spirit" as an important criterion for the artistic beauty of calligraphy. The so-called "shape" refers to the stippling, structure, composition, etc. of calligraphy; the so-called "spirit" refers to the spirit, style, etc. of calligraphy. Therefore, we appreciate calligraphy, including appreciating the beauty of lines in pointillism, the beauty of structure, the overall beauty of composition, and even the beauty of the style of the entire work resulting from it. When appreciating calligraphy, just like appreciating paintings, the first thing that often matters is the overall effect of the work. Therefore, the overall beauty of the work is also an important aspect that cannot be ignored in calligraphy appreciation. An excellent work must be a diverse and unified whole. An important factor that constitutes the overall beauty of calligraphy art is composition. If the structure of words is the organization of lines, then the composition of a work is a more complex organization of lines; whether the organization is appropriate or not is one of the keys to the success of the work. The reason why Zhang Fa is also called "Bu Bai" is because the nature of Zhang Fa is an artistic treatment of the virtual and actual space. The beauty of reality all arises from emptiness. "Void" and "real", "white" and "black" are dependent on each other and complement each other, leaving the appreciator with a vast world of aesthetic imagination. Successful compositions are concentrated expressions. Deng Shi's aesthetic principle of combining virtuality and reality is the specific application of this aesthetic principle, that is, where there is pen and ink, it is also important where there is no pen and ink; there is pen and ink between the lines, and there is interest in the words. Symmetry, uniformity of cloth and stippling have equal aesthetic value. Since all spaces are organic parts of the work, the linear structure and the feeling of space should naturally be included.
Calligraphy also pays attention to the connection between the previous and the following, looking left and right, varying changes, reasonable inscription, appropriate sealing, and attention to the harmony and unity of local beauty and overall beauty. For example, "Lanting Preface" has 324 characters in total, divided into 28 lines. Each word echoes each other, and the lines echo each other. Like clouds and flowing water, the momentum is coherent and integrated. Bao Shichen of the Qing Dynasty said: "The font sizes of Fenggu Tie are quite different, such as the old man and his grandson, the length is uneven, but the affection is sincere and the pain and itching are related. This vividly illustrates the artistic effect of the overall beauty of the calligraphy work.