On the Creation of Zhang Hei's Epitaph
According to the arrangement of applying temporary writing skills to creation, I will talk about some experiences on how to apply what I have learned in my temporary writing Epitaph of a Black Woman.
First, the structural characteristics of Zhang Hei's epitaph brushwork. Epitaph of the Black Woman is a masterpiece of calligraphy in the Northern Wei Dynasty. Bao's evaluation of this monument is: "It is like a scroll, as round as Zhu Junshan, as wide as Zhang Menglong, and as quiet and dense as respecting the sage". Kang Youwei listed this monument as a "steep monument", "like a fine horse crossing a stream, proud of the shore and arrogant". It can be seen that this monument is wide in content, good in brushwork and fine in structure. Quan Zhi is simple and handsome, strong and lofty, which not only shows the glory of the North Monument, but also contains the subtle and elegant atmosphere of the Jin Dynasty literati.
The writing style of Epitaph of a Black Woman is characterized by the combination of center and flank, with center as the main feature. Fiona Fang has both pens, Fang Bi added. The center is used for the long horizontal, long vertical, left off, left off and various points of each word. However, short strokes, cross hooks and most turns all use wings. This organic combination forms its unique artistic style of combining rigidity with softness. The processing of the big mouth box in this journal is quite distinctive, with the upper horizontal slightly longer, the left side of the cover short and vertical, and the upper width narrow, such as "South", "Miao" and "Family". In addition, this chronicle has several remarkable features: First, Li and Wei appear alternately. Some brushwork in the tablet is very expressive, which makes the structure of the word Gu Zhuo look vigorous and powerful. Especially the pen, multi-turn method until it is flat. Some horizontal hooks also use this method, such as "Zhang", "Chun" and "Ye". Second, omit the hook method. Clever ellipsis is also one of the characteristics of this style. Such as Xie, Chi, Liu, Xiao, Feng and Fang. The third is to fold it into a triangle. All short folds are triangular, with wide upper part and narrow lower part. This kind of brushwork is to turn the pen horizontally and move the lines, such as "zhong", "Ming", "bian" and "Xing". The fourth is the danger of modeling. Some characters in this chronicle have unique shapes, reasonable tendencies and appropriate responses. Such as "good", "fish" and "middle".
Second, writing precautions. The Epitaph of Black Women has a beautiful structure and changeable brushwork, which is found in the middle and in Fiona Fang. To achieve "square is not explicit, round is not gentle and charming" and abalone's "solid beauty", we must achieve "four essentials": that is, it should be slightly full of ink, slow, stronger than paper and round in square; "Three bogeys": that is, avoiding being partial, which is not found in Fiona Fang.
Distinguish, too sharp and too stiff.
Third, creation. How to turn what you have learned from your post into your own, that is, when your post reaches a certain stage, you will think about creating it yourself. This process from learning to using is still difficult to cross. It is a good way to put new words, sentences and articles on posts for creative practice. This can not only further refine and sublimate the essence and structural method of the original post, but also narrow the distance between temporary study and creation, and get twice the result with half the effort. In this way, I have deepened my understanding of the Epitaph of a Black Woman and learned a lot, which basically meets the requirements of teaching.
Basic stippling illustrations of Zhang Hei's female epitaph
main points
Taiguazi branch
The pen tip enters the paper in the opposite direction, and runs down to the right after writing, and the pen is completely flat.
Open it, then raise the pen and adjust the front, so that the pen can be put away from the stippling place. at this point
Potential, the whole body.
Fangping point
After the Tibetan front put pen to paper, the pen front spread horizontally to the right, and the back front closed lightly.
Brush posture restoration, collected from stippling, slightly longer horizontally.
Swing point
When the nib becomes lighter vertically, spread the pen around and lift it.
The nib folds and bulges from the center of stippling.
After the hidden front of the vertical point of "Tai" put pen to paper, the front of the pen runs down and the potential is straight. After the pen tip is unfolded, the pen is lifted up and returned to the middle of stippling to collect the pen. The oblique tip of "No" hides the front of the pen. The front of the pen is put down to the right with a little strength, and the back of the pen is oblique and slightly thick. Write "Yi" vertically, hide it to the right and down, write for a long time, and then close the pen. "Desire" is short on the left, pushed down on the right, echoed in the middle of two points, flat and broken at two points, slightly Leon. The parallel points of Yue are all to the left, and the writing direction is the same. Its shape is short (pecking) and sharp, but the force is at the end, slightly lower on the left and two points higher on the right, but the difference is not big. The two points of "final" are horizontal, and the writing is thick and powerful. Like a weight, the word "final" is suppressed, steady and not frivolous. The antonym of "father"
These two points are round and contain the meaning of seal, and the potential points are left and right. The pen on the left is hidden in the front, and the pen on the right is slightly sharper, and then it is collected in the front.
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horizontal
In metaphor, the upper and lower points are vertically downward. The upper pen is put away from the middle of stippling, and the lower line is pulled out. At the second point, pens are collected and recovered. Slightly thicker. The first point of "Pu" is the side point. Second, when the pen is closed, the front is like running water, flowing to the beginning of the third point. Third, when writing, turn the contrarian to the left first, and then pick it up after lifting it. The potential is slightly longer, and the pen power is at the end. "Nothing" is tied horizontally at four o'clock. The first point is a single point. The second point and the third point are slightly lighter and connected by strings. After writing the fourth point, spread it out to the right, then pick up the pen and put it in the middle of your abdomen. "One" starts to draw horizontally, draws straight down, raises the pen to adjust the front, spreads the pen to the right and runs in the center, closes the pen to the left satisfactorily and returns to the painting. There are ups and downs in stippling. "He" refers to the first horizontal of the word "He". The pen is the same as the horizontal pen, and the middle is slightly convex, which makes the stippling fine and tough. Chronicles have three horizontal points. The posture of these three points is different. After the first point, the pen draws to the left and then retracts. At the second point, the pen draws from left to right, and the pen is closed to bring the front to the third point. The third point is heavier, but the potential of the point is also higher.
The concave horizontal of "five" refers to the first horizontal of the word "five". Pen is the same as horizontal and horizontal, but the potential at the center line is slightly concave. The "rope" twists and turns, with the pen upside down, writing with an oblique pen, raising the pen to adjust the pen center to run to the right, and the thickness fluctuates slightly, making the stippling vivid and powerful. When the pen is closed, it is slightly heavier to the left and brought out with the pen gesture. The horizontal system of Sakamoto (1) is on the left, with a slightly sharp upper horizontal pen and a heavy stroke force; The pen in the horizontal direction is slightly square, and the pen body is lighter, in order to change. "The world" picked up the pen sideways and drew the center pen to the right. Gently lift the pen in the middle of the front, and close the virtual pen to the left. This is one of the characteristics of "Zhang Heinv". The two short horizontal lines in the middle of Mu are written as point horizontal lines like horizontal points, which are different from the wooden horizontal lines on the left, and appear dexterous and gesture. The spring is horizontal.
Three horizontal juxtaposition, its potential should be slightly oblique, the weight of starting and receiving pens, the length of strokes should be uneven, and attention should be paid to the connection between stippling.