What font is Wang Xizhi good at writing?
Good at regular script, running script and cursive script.
Wang Xizhi's calligraphy style is magical, ever-changing and unique, and its peak is regular script, running script and cursive script.
Wang Xizhi's calligraphy is recognized as "the best calligraphy in the world" by calligraphers of all ages. Wang Xizhi (A.D. 303 ~ 36 1), the most outstanding calligrapher in the Eastern Jin Dynasty, was born in Linyi, a rogue and a general of the right army, and was called "Wang Youjun".
Wang Xizhi began to learn calligraphy at the age of seven, and studied under Mrs. Wei and his uncle Wang Xun, who came from a calligraphy family. Later, he visited the exquisite works of the masters of seal script in Qin and Han Dynasties. He studied the form, imitated the handwriting, learned from others' strengths, and melted into one furnace, creating a running script that was "natural and full of charm" and was praised as a "book saint" by later generations. Calligraphy reached its peak in his later years, and Preface to Lanting was his masterpiece in his later years.
What are Wang Xizhi's calligraphy works?
Wang Xizhi's calligraphy works include Sun in the Snow, Cao Ebei, Huang Tingjing, Seventeen Posts, Confucius Post, On Le Yi, He Ru Post, Ping An Post, Buddhist Scripture, Post after Rain, On Le Yi and Preface to Lanting Collection.
Characteristics of Wang Xizhi's Calligraphy
First, there is the habit of using a pen in regular script.
The characteristics of regular script are: first, pay attention to the opening and closing of lines, and the opening and closing movements are delicate, rich and in place; Second, the action of moving the pen to form the middle section of the line is mainly to raise the pressure, with less twisting the pen; Third, almost all the horizontal folds are turning points, with obvious pen folding movements.
Wang Xizhi lived in Wei and Jin Dynasties, which was the period when official script developed to regular script, Cao Zhang and Jin Cao. Wang Xizhi is good at regular script, and regular script has also made great artistic achievements, such as Le Yi Lun, Huang Tingjing and A Portrait of Dong Fangshuo. Compared with seal script, regular script is not as thick as seal script in the middle of the line, but it is more exquisite, rich and accurate than seal script and seal script. In the treatment of horizontal folding, regular script is mainly a turning point. Compared with the turning point of seal script and official script, although it is less heavy, it is a little more refreshing. In particular, the downward folding stroke opens the structure of a single word for cursive script, strengthens the combination of words and word groups, and makes the whole work play a key role. This pen transfer is based on the habit of writing in official script, and also for Wang Xizhi.
Before Wang Xizhi, Zhang Zhi was good at Cao Zhang, and Cao Zhang's ci was independent. There is no connection between words. From the whole work, there is only the echo between words. Wang Xizhi changed the direction of the horizontal line "potential" in Chinese characters with a turning stroke, from the original turning stroke "potential" direction to right oblique downward to vertical downward or left oblique downward. This vertical downward and left oblique pen "potential" is very beneficial to cursive script to strengthen the openness of word structure, strengthen the connection between words, and strengthen the combination of words and groups, thus obtaining strong support for cursive script writing from top to bottom and spreading from right to left.
One of the important reasons why Wang Xizhi can become a book saint is that he can link the past with the future. He can push cursive script to a new height because he is good at seal script and regular script, and he is committed to the development of cursive script. He knows all the calligraphy styles of real cursive script like the palm of his hand, so he can sum up all his previous writing experiences and advantages, take the essence and discard the dross, and make his brushwork a master of all calligraphy styles of real cursive script. Drawing a lot from the habit of using regular script, paying attention to the richness, exquisiteness and perfection of the methods of starting and collecting pens, and increasing the turning point when folding horizontally, which is most fully manifested in Wang Xizhi's "Feng Ju Tie". The word "white", the word "mouth" to the right of the word "ru", the lower right part of the word "orange" and the horizontal folding of the word "hundred" in the post fully reflect Wang Xizhi's characteristics and style of drawing lessons from regular script.
In addition, Feng Jutie is also a typical representative of "books are expensive, thin and hard, and only then can you understand the spirit". Don't mistake "thin" here for thin, but a vigorous, restrained and refreshing performance. Mr. Zhou once said, "Look at the excellent rubbings of the books of the Right Army collected in the Monument to Guangfu Temple handed down from ancient times and the famous Japanese works, such as tanggou Mo's Feng Ju Tie, and you will know how thin the Right Army is". The reason why Feng Ju Tie can convey such charm and charm is not unrelated to Wang Xizhi's extensive use of regular script.
Second, the habit of writing with a pen.
The biggest feature of the seal calligraphy pen is the pen heart, all the turning points are almost close to translation and rotation, with no turning points (except the seal calligraphy tablet with unique personality style such as Qi Sangong Mountain Monument), many curves, and almost no pen lifting and frustration. The main characteristics of the pen for official script are that almost all horizontal folds are twisted pens with little or no turning point; There are many horizontal straight lines, among which there are many "waves" and "twists and turns" to form lifting and twisting strokes. Some strokes of seal script and official script are characterized by focusing on hiding the head and protecting the tail, especially on the richness and massiness of the midline. In Lun Shu, we often talk about ancient law and ancient quality. Where is the "law" and where is the "quality", it may be hidden in the middle of this line.
By analyzing the middle lines of many words in Aunt's Post and Early Moon Post, we can find that the middle lines of each word are full and heavy, especially the stippling of the six words "November 13th" at the beginning of Aunt's Post is particularly three-dimensional, and the middle lines are full, heavy and concise. Also, every stippling of the characters "Twelve Days Mountain Shadow", "Worry Road" and "Xihe Newspaper" in the First Month Post is slow and restrained, and there is a twisting movement of the pen, which makes the lines feel three-dimensional and high-quality, without a flash of paleness and emptiness.
Third, it has the characteristics of seal script rhyme.
The rhyme of seal script and official script is elegant, simple, heavy, vast and atmospheric spiritual beauty. One of the reasons why Wang Xizhi's brushwork has such a "seal meaning" or charm of seal script is that this brushwork was a common habit at that time. Wang Xizhi lived in Wei and Jin Dynasties, which was a transitional period from official script to regular script, Cao Zhang and Jin Cao. From the Han bamboo slips in Juyan to Lu Ji's Ping Fu Tie, and then to Wang Xizhi's early Moon Tie and Tie menstruation, Wang Xizhi's seal brush is the inherited brushwork in this transitional period and the normal result of the development of calligraphy history brushwork.
The second reason is that both Wang Xizhi's teacher and himself are good at official script or Cao Zhang. Wang Xizhi learned less from Mrs. Wei and gained the skill of proofreading books. From ten to twenty years old, it's wonderful to be a teacher, an uncle and a father. After the age of 20, HQ, official script and running script are still in Zhong You, and the grass method follows the example of Zhang Zhi. Mrs. Wei and Wang Xizhi were the objects of his later studies, especially Zhong You and Zhang Zhi, who were the top masters of official script, regular script and so on. Wang Xizhi himself mentioned many tablets to imitate others, which shows that Wang Xizhi was deeply influenced by his previous official script and other tablets. In Wang Xizhi's Auntie Post, the structure of many words in the post is directly taken from French official script, and the lines are simple and innocent, muddy and noble; The pen is dignified and heavy, regardless of the exquisiteness and rigor of the pen, highlighting the beauty of the middle part of the line, and the transverse folding is mainly to make a turning point and express the meaning of the seal.
Wang Xizhi himself is particularly good at calligraphy of real cursive script. In addition to the well-known cursive script and Preface to Lanting, Wang Xizhi also won the reputation of "the best calligraphy in the world". He is also good at official script, regular script and cursive script. Sun said, "Yuan Chang specializes in official script, while Bo Ying is only good at cursive script. One is beauty, and the other is both." Huang said, "If you are really good at Zhang Caoqiu, they are all beautiful. It was really good for calligraphers to comment on the right army before, but I don't know what Feng He does. " A Brief History of Books in Song Dynasty called him "good at writing and running official books". It can be seen that Wang Xizhi not only learned from Zhong You, Zhang Zhi and Cao Zhang who are good at official script, but also was influenced by them. In the eyes of later generations, especially Sun and Huang Gu, who have made great achievements in calligraphy art, all rated Wang Xizhi as proficient in official script and calligraphy, so it is normal for Wang Xizhi to have the rhyme of official script in brushwork and style.
Fourth, use the pen slowly.
Pen speed is an important factor affecting line quality. Speed hardly affects the shape of lines, but it can greatly affect the texture, rhythm and connotation of lines. If you want to get the quality of the solid line like the middle section of the north Korean midline, use the pen slowly. How to be slow and astringent is nothing more than using the twisting pen method to increase the friction between the pen tip and the rice paper and increase the repeated short-distance folding action.
Wang Xizhi himself is deeply rooted in the nature of being late. He said: "every book is more expensive than silence ... there is no need to rush when writing, it must be too late." Why? The pen is a general and must be postponed. " In the following article, it is emphasized that "every book should be ten late and five urgent, ten curved and five straight ..." Many people who study the style of the two kings in contemporary book circles feel that the pen is too fast to stop and keep. The lines are dazzling and pale as skating. As Wang Xizhi said, it takes ten minutes to be late for creating a work, and five times to be anxious, thinking and thinking are all urgent. The pen is steady and slow. Only when the pen is controlled in place, especially when writing in a certain artistic aesthetic situation and state, there is a certain aesthetic mentality and style involved, and there is reason to think late and consciously stay, will the lines show rich connotations.
Fifth, turning is mainly the brushwork of turning.
Wang Xizhi's handling of transverse folding has its own unique side, especially compared with later calligraphers, Wang Xizhi's handling of transverse folding is mainly based on twisting, supplemented by turning, while later calligraphers, except Yan Zhenqing in Tang Dynasty, almost all use turning brushwork in handling transverse folding, which makes turning brushwork rare.
In the first month post and menstruation post, all the words in Wang Xizhi's post, especially in menstruation's post, are related to the horizontally folded places, such as "month", "day", "two meals", "head", "moment", "pain", "self" and "cause". Because this brushwork originated from the turning point in the brushwork of seal script and official script, the crossed and folded lines are solid and thick, simple and muddy. At the same time, this brushwork not only makes the lines have a solid texture, but also makes Wang Xizhi's works rarely appear "corners" in the horizontal compromise, ensuring the fullness and flavor of the lines.
This feature is also an important symbol that distinguishes Wang Xizhi from later calligraphers. Generally, the horizontal folding angle of translation and torsion strokes is greater than 90 degrees, and the horizontal folding angle of flip strokes is less than or equal to 90 degrees. Therefore, in meteorology and aesthetics, some turning strokes represent broadness and introversion, while in aesthetics, some turning strokes represent rigidity and sharpness. Looking at Wang Xizhi's works, Wang Xizhi can make the brushwork rotate more by twisting than by turning the brushwork, which is also in line with the overall aesthetic style of Wang Xizhi's calligraphy. Because of the overall aesthetic style, some of Wang Xizhi's posts use turning brushwork more than turning brushwork, such as "Feng Ju Tie" is a special case.
Six, exquisite pen, rich and diverse.
To sum up the above five points, Wang Xizhi's brushwork is delicate, delicate and changeable. More often, Wang Xizhi's brushwork is a random shape, which is simply a stroke of genius and elusive.
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