this . width = 740 " align = left border = undefined & amp； 111nmusewheel = "return zoom _ img (event, this)" Facing Mao's rubbings, we first have to sigh: before the invention of papermaking, almost all of our characters in China were expressed on "irregular" carriers, such as Oracle bones, Zhong Ding and Yi vessels. But in the face of these grotesque carriers, we ancients were able to handle the chapters in an orderly, harmonious and vivid way, which the later "cabinet-style" calligraphers could not do anyway.
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From an artistic point of view, Mao, as a model of inscriptions on bronze in the late Western Zhou Dynasty, embodies the high maturity and standardization of characters after development and evolution. Generally speaking, the bronze inscriptions in the early years of the Western Zhou Dynasty mostly followed the style of the Shang Dynasty, and the calligraphy was magnificent and unrestrained, not limited by the usual rigorous pattern. Pens are used at the beginning and end, and the font size is arbitrary. Many characters like to highlight their stippling forms with fat pens and reunions, which fully embodies the characteristics of the times with irregular writing, and calligraphers are more free and easy in creation and publicity. In the middle period, the style of the book changed, with a dignified pen and a round and muddy stippling. Although there are sometimes heavy pens, the decorative significance is obviously weakened and the font is gradually standardized. By the Western Zhou Dynasty, the style of bronze inscriptions was basically mature, the decorative significance disappeared, and the lines were more solemn, concise and connotative. From Mao's inscription, it is not difficult to find the unique temperament of the times of this "mature" bronze inscription. Even so, his "inaccessibility" and superb expressive ability are still like a huge "generation gap" formed by the intersection of time and space, which seems to be beyond the reach of future generations. Its lines are round and old, simple and muddy; Fiona Fang interacts with a pen, and the pen is heavy; The words are precise and majestic, and the posture is slender and graceful; Wired and wired in composition, the characters complement each other, if they enter many people's hearts ... they all show superb formal beauty and high artistic value, and at the same time increase the difficulty for us to grasp the techniques and connotation of inscriptions.
Learn gross weight in understanding lines and brushwork. To make it easier to understand, we might as well compare it with the white plate of Polygonum multiflorum Thunb. It should be said that these two works are both works in the period of Western Zhou Xuanwang.
this . width = 740 " align = left border = undefined & amp； 111nmusewheel = "return zoom _ img (event, this)" lines are all "round", and the glyphs tend to be neat and rectangular, but after careful observation, it is not difficult to find that the lines in "White Shouwu Pan" are round, skillful and restrained. However, Mao's line modeling is round and simple, tortuous and tough, and the line modeling shows obvious "curve" trend and "closed pen" trace, and the pen is slightly informal, so it is often pointed at the beginning and end; "Brush strokes" vary in length and weight, and lines give people more of a "strong" aesthetic feeling. Through the above analysis, we have a basic understanding of the linear quality of wool, but how should different linear qualities be expressed in brushwork?
The basic brushwork of seal script is nothing more than reverse stroke, middle stroke, flat stroke or recovery, but this is only * * *, and different lines presented by different inscriptions should be different in specific brushwork. For example, the same center, but because of the different hand shape and pen shape, the change of strength and speed, the amplitude of lifting pressure, the length of strokes and many other factors, can make the line quality have different artistic effects; Similarly, in the opposite direction, the direction of the pen tip entering the paper is different, the size of the volley, the depth of the pen entering the paper and so on. , it will also cause the change of "head type". In the process of raising a pen, the different skills of moving stones with a pen are "personality", which also needs to be deepened in the method of invitation. Generally speaking, personality differences often depend on the strength and speed of using a pen. If you compare White Pan of Polygonum cuspidatum with Mao, you will find that the former is gentle and simple, not stimulating and not sharp, and the strength and speed will definitely change throughout the writing process, but the contrast between strength and speed is only a small one; Then the contrast of the pen increases obviously. We might as well call it big contrast. At the same time, with the increase of intensity and speed contrast, the whole writing process will inevitably show a natural fluctuation in action, which is usually called rhythm. It can be seen that the rhythm should be a key to the same degree of learning wool to achieve the expected results. Of course, to reflect the rhythm, if the brushwork is unfamiliar, it is undoubtedly empty talk. Therefore, I suggest the following steps: 1. First, we should master the stroke processing method of the central round pen, especially strengthen the wrist control of strokes when writing arc painting; 2. Read the posts carefully, choose words to copy realistically, and improve the ability to express the accuracy of lines and glyphs; 3. Understand the meaning of using a pen, increase the intensity and speed of using a pen, enrich hand movements and strengthen the sense of rhythm.