For the word "anti-shoulder", the accepted explanation is that when the horizontal painting leans to the right, it is called horizontal painting anti-shoulder. The greater the inclination angle, the greater the anti-shoulder, the smaller the inclination angle and the smaller the anti-shoulder.
So, why do you want to write oblique paintings? The main reason is that people's eyes are visually unbalanced. If the horizontal painting is really flat, it looks down to the right due to the illusion of the eyes, as shown in figure 1.
Therefore, the horizontal painting must be slightly inclined when writing, and the inclination angle is about 5 to 7. If the horizontal center line of Tian Zi grid is taken as the baseline, the starting pen of horizontal drawing is below the horizontal center line, and the closing pen is on the horizontal center line, and the upward inclination is almost the height of a pen, as shown in Figure 2.
Are all horizontal paintings at this angle? Of course not! This angle is generally a long horizontal direction.
As we all know, horizontal painting is divided into three forms: long horizontal painting, middle horizontal painting and short horizontal painting. The requirements of three different forms of horizontal painting are different. Let's analyze the different forms of horizontal painting in detail:
According to the size of the shoulders, we can divide horizontal painting into three situations:
One is a long pass with relatively small shoulder resistance. This long cross is generally used at the bottom of a word, which has a lifting effect on the upper part and is flat as a whole.
The second is to use slightly larger shoulders to resist short and medium transverse. Short cross and middle cross are generally slightly larger than shoulder resistance when writing, so pay attention to equal spacing and unevenness when writing.
Third, the shoulder resistance is particularly large in the short or middle cross. This situation is mainly when the horizontal painting below a word is oblique hook, oblique hook and vertical hook, the horizontal painting above it should be as large as possible. Because these three strokes extending to the right and down are generally the main strokes of the word, the weight is heavy, and only when the horizontal painting increases the upward inclination, the whole word appears stable.
When the horizontal painting below is oblique hook, oblique hook and vertical hook, the shoulder resistance of the horizontal painting above should be as large as possible.
Above, we have analyzed three situations of independent horizontal painting against shoulders, so should horizontal painting resist shoulders in complex strokes? Let's look at a few examples:
In compound strokes, the short shoulder is larger than the long shoulder, and the long shoulder is smaller than the long shoulder.
As can be seen from the above example, the usage of horizontal painting in compound strokes is the same as that of independent horizontal painting. The short-term shoulder resistance of horizontal painting is large, and the common sense of horizontal painting is generally flat, but the shoulder resistance is small.
The above shared three situations of horizontal painting leaning against the shoulder, and we can basically draw a conclusion that horizontal painting, whether it is independent horizontal painting or composite horizontal painting, is inclined, which we can call oblique.
Let's consider whether other stippling or components have an oblique tendency when writing.
Through a lot of comparative analysis, we find that "stippling combination" is usually inclined in Chinese characters, and Chinese stippling combination generally has three forms: two-point combination, three-point combination and four-point combination. Let's analyze it separately:
1. two-point combination
If we connect the left and right points of the following words into a straight line, we will get a horizontal picture of the same size as the horizontal picture. Therefore, the combination of two points is also oblique. In the process of writing Chinese characters, we can regard two points as a horizontal painting that resists shoulders.
Words with left and right points are generally written with the left point low and the right point high, and the whole is oblique.
2. Three-point combination
Similarly, if we connect three points side by side into a line, we will also get a shoulder-resistant horizontal painting, so when we encounter words with three consecutive points, the pen from three points will rise step by step, which is the same as shoulder-resistant horizontal painting.
The writing requirement of three-point juxtaposition is to gradually rise from three points, and the three-point connection line is the same size as the horizontal shoulder in the word.
3. Four-point combination
Four-point combination usually appears in the form of word base. If we connect the four-corner pen with a straight line, we will get a horizontal line diagram similar to a long horizontal line. Therefore, when writing at the end of four o'clock, the four-point pen should be on the same straight line, showing the shape of upper flat and lower arc.
At the end of four o'clock, it is usually large from left to right and small in the middle. The pen at four o'clock is roughly in a straight line.
From the above analysis, we can see that for the combination of stippling, we can write according to the requirements of horizontal painting and shoulder resistance in the process of writing. If we learn this trick, will we simply write a combination of dots and colors? In fact, we can further extend the horizontal painting against the shoulder, that is, the oblique painting potential, which is also used in the arrangement of the word-binding part. The oblique potential of components can be divided into the oblique potential of single component and the oblique potential of two components.
For example, the oblique potential of a single component is the flat mouth in the word "Zhong", the sun above the word "Ang", the box above the word "Guo" and the four above the word "Ba", all of which are oblique to the upper right.
The closed part is generally consistent with the shoulder-resisting direction of the horizontal painting in the figure, and the whole is inclined.
The oblique potential of the two components is mainly applicable to the whole word of the upper and lower structure and the upper half of the left and right structure. For this kind of characters, the upper part should be inclined at the lower left and the higher right, that is, the right part should be written upward as far as possible, and the left and right parts should be treated as shoulders.
The upper part should be left, lower and upper right, and tilted as a whole.
Today, through the analysis and research of horizontal painting, stippling combination and special structure types, we know that the above situations are the practical application of oblique word formation methods. It is an important content of Wang Xizhi's word-making method to make oblique use of the situation. If you are interested, you can read Wang Xizhi's Preface to the Holy Religion to deepen your understanding of the method of creating words by taking advantage of the situation.
At the same time, through today's study, we should also realize that in the process of learning calligraphy, we must learn to draw inferences from others, carefully analyze the structural characteristics, and find out the same rules, so as to improve the learning efficiency.