First of all, the use of flying white will produce the beauty of strokes. If Feibai is used well, some strokes are like meteors across the sky, some are like speedboats racing across the water, some are like cliffs and waterfalls flying vertically, some are like weaving fine threads, and some are like women's hair fluttering in the wind ... It's really beautiful.
Looking closely at the flying white used by ancient calligraphers, there are pleasant strokes in their strong calligraphy style: Wang Xizhi's flying white is touching, Wang Xianzhi's flying white is radiant, Yan Zhenqing's flying white is bright and pure, Ou Yangxun's flying white is rigorous and steep, Zhao Mengfu's flying white is beautiful and elegant, Mi Fei's flying white is bright and clear, and Huai Su's flying white is chic. ...
Secondly, the use of Bai Fei can add a lot of luster to the writing. The flying white in a single word coexists with other strokes, which is picturesque and sometimes decorative. Sometimes, other strokes in a single word are unremarkable, and if used properly, the word can suddenly stand out; Sometimes, flying white can also cover up or save the inconspicuous failure between the lines and get the effect of shifting focus; Sometimes, in a single-word vertical painting, proper use of flying white can achieve relative stability and achieve a balanced effect without losing the right and center.
In addition, the above white body appears in a calligraphy work, which is conducive to the overall beauty. The flying white in the whole work is as fresh and natural as a clear spring in a mountain stream; Some are like flowers dotted with girls' dresses, which are affectionate; Others are like children playing in their mother's arms, full of interest, and so on It is worth mentioning that the rhythm of writing can be reflected in the light and heavy Ji Xu, which is also one of the manifestations of enhancing the overall aesthetic feeling of the works.
Second, the use of Feibai
Generally speaking, it is widely used in running script and cursive script, but it is rarely used in regular script, official script and seal script. This phenomenon is probably caused by the stroke characteristics of various fonts, composition of works, writing speed and other factors.
As far as strokes are concerned, flying white is mostly used in vertical, vertical and horizontal strokes, while other strokes are less used, which is mainly determined by stroke form, stroke processing process and writing style. As for whether Bai Fei is the main writer or the secondary writer in a sentence, we should pay special attention to whether it is appropriate. Sometimes the improper use of flying white in the main pen will lose the center of gravity, and the proper use will help to play the beauty of strokes; Sometimes the second use of flying white will lead to lack and fullness, but if used properly, it will play a role of ornament or decoration.
Feibai is generally used in the middle or tail of strokes, which requires free strokes and natural transition. Among them, Bofei's tail has a back front and some exposed front, which is generally used according to the changes of writing style, speed and pen movement.
In addition, in a place where the upper and lower strokes are connected, or where the last stroke of the upper word is connected with the first stroke of the lower word, proper use of Bai Fei can enhance certain aesthetic feeling. However, the flying white tie should be wide and narrow, and the length should be appropriate. It is natural to undertake the conversion without losing strength, and it is required that there should not be too many white ties.
Third, the taboo of flying white
Writing a book with Bai Fei needs to be just right, so there are many noteworthy places in the writing process.
Avoid flying white at the beginning of the prefix or stroke, or too many initials in the work. Otherwise, the whole word or the whole work will lose its momentum, which makes the strength of standing up drop sharply, that is to say, it is impossible to produce momentum. The reason is that the written words appear in white, which is obviously scrawled and does not meet the standard of brushwork; It is frivolous and unorthodox to let too many first words go for nothing. Both of them violate the general law of calligraphy creation.
The second taboo is that a word is flying white, that is, it usually appears in one stroke of a word, and at least two strokes appear at the same time. If a word flies too much, the strokes will float falsely. It may be that the heart (eye) has arrived but the hand has not arrived, and the rhythm is not well controlled. Of course, some writers deliberately pursue the beauty of flying white, which may be worth studying.
Three bogeys, the whole article is in vain. Too much use of Feibai in the whole work will easily lead to looseness, falsehood, gas failure and fatigue. Bai Fei can only play an embellishment role in the whole work. Only by winning more with less, winning more with skill and winning more with fine can the overall aesthetic feeling be enhanced. This requires the writer to fully consider the whole before writing. It is normal to have changes in the specific creative process, which depends on the ability of the screenwriter to control.
Four bogey flying white is too long. Some people may ask, there is no example of Bai Fei's painting for a long time among ancient and modern calligraphers, but it is a display of style, a concrete manifestation of calligraphy reaching a certain level and natural expression of emotions. Generally, writers should not deliberately seek to highlight themselves with too long flying white, but should lay a solid foundation of calligraphy and achieve the best state of natural expression step by step, so as to use flying white appropriately and freely.
Five taboos are flying white, weak and unnatural. A close reading of "Wen Xin Diao Long" is wonderful, combining rigidity with softness, and connecting in many ways. This is the direction and goal of calligraphy learners.
Modern flying white body
According to historical records, this writing style prevailed in Jin, Tang and Song Dynasties. It is highly respected by calligraphers, calligraphers and the grandfathers of calligraphers in past dynasties. , Wang Xizhi's father and son,, Xiao Ziyun, Tang Zong Song Zu, etc. They all practiced flying white body hard, and their artistic achievements had a far-reaching impact. In the Tang Dynasty, Li Simiao introduced Wang Xizhi's flying white works in Houshu: "Its flying white is also, the misty valley in Fu You winds, the smoke burns empty, and the long sword Geng Jie leans on the sky, and his strength soars into the sky." Xiao Ziyun's "Xiao Zhuan" is flying white, and the artistic conception is floating. Ou Yangxun's flying white crown is absolutely superior to the ancients. Emperor Taizong and his son, Empress Wu Zetian, all loved Feibai's artistic conception of writing. At that time, Mozi scholars practiced flying white books hard and went up and down in the ruling and opposition circles. This grand occasion was strongly advocated by Song Taizu, Taizong and Renzong until the Northern Song Dynasty reached the peak in the history of China Feibai calligraphy. From Yuan, Ming and Qing Dynasties to modern times, Bai Fei calligraphy has become a unique calligraphy school, with few inheritors, and even less people interested after the founding of the People's Republic of China.
In today's era, the cultural renaissance is at its climax, and a hundred schools of thought contend. The way of calligraphy and the realm of art are what Mr. Dai Yamin diligently pursues. He opened the door left unlocked in the history of calligraphy, traveled through thousands of years of time and space, talked with his ancestors, realized the sound of * * *, and pursued the elegance of Feibai calligraphy. Innovation and exploration became his life. He integrated calligraphy innovation with artistic life. Learn from the ancient sages, and practice hard at dusk. He consulted the historical materials of Bai Fei Book History, improved the writing and composition of the font structure, and traveled all over the country and the fairyland Lingshan. He studied everywhere and was taught humbly. In the starry night, he was lost in thought. At noon, when the fire was on the head, he was covered with ink, spring flowers and autumn fruits, bitter with sweetness. In the distant land of Africa, inspired by the writing of Arabic Scriptures by local tribes, he creatively combined China's Chinese font with the brushwork charm of foreign languages, broke through the traditional writing techniques of lifting, pulling, stopping and frustrating, and gave new life to the traditional flying white calligraphy techniques! At the Shanghai World Expo, the flying white calligraphy exhibited by Mr. Dai Yamin deeply shocked the audience. Everyone applauds and admires this respected man who has contributed to the art of calligraphy. I saw that his pen was black and white on the spot, and it smelled like Changhong. It was as beautiful as a root, like a dragon going out to sea, vigorous and powerful, and flowing like Dunhuang. The fresh and elegant atmosphere dumped everyone, and experts and scholars at the scene all marveled. Mr. Dai Yamin's original "Dai's Feibai Calligraphy" enjoys the honor of "the first person in Feibai Calligraphy" in contemporary times. His Flying White Paper is the essence of China culture, combining rigidity with softness, alternating strangeness with righteousness, and combining yin with yang. He used an ordinary brush to show the white body of calligraphy most vividly, and the words are full of meaning. The art of calligraphy is exquisite, and the passion of pen and ink is free and relaxed. Classic works show his artistic calmness and unremitting pursuit of traditional culture!