Basic strokes are the raw materials of Chinese characters. The key to writing beautiful Chinese characters is how to use these raw materials to shape Chinese characters. The so-called structure means that the basic strokes of Chinese characters form characters according to certain rules, and the rules and methods of basic strokes are "frame structure", or "knot structure" and "knot words". Frankly speaking, "structure" is the relationship between strokes.
In the art of calligraphy, the beauty of a word is mainly realized through its overall structure. No matter how well a single stippling form is written, it will become meaningless without the overall structure. Zhao Mengfu, a calligrapher in the Yuan Dynasty, said: "Calligraphy is based on the use of pens, and it also requires labor to complete words." Writing and writing are interdependent, complementary and equally important in calligraphy.
Principle of regular script structure
Although the structure of Chinese characters is rich and varied, it is not irregular. From an aesthetic point of view, the law of writing regular script with a brush can be summarized as follows.
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No matter how many strokes, shapes and distances a Chinese character has, its position should be even and symmetrical. This symmetrical structure often gives people a sense of stability, majesty and balance, which occupies a considerable number in Chinese characters.
Inscription of Liquan in Jiuchenggong
2. The principle of common stability
Regardless of the length, thickness and straightness of the strokes, this principle requires that all the constituent units should be coordinated and stable, and the whole word should lose both the center and the center of gravity.
north
3. Avoidance principle
Avoidance means avoidance and concession, but it is a trend and approach. Between stippling and painting, the sense of visual movement caused by the direction and backward form of strokes often conflicts or deviates from the strokes. At this time, if both parts are stretched, they will be physically offended and mentally entangled; If the two parts merge, they will deviate from each other and be distracted. Only by avoiding and tending can the structure be perfect and complement each other.
Confucius temple tablet
4. Principles of change
The art of calligraphy is the most taboo to be dull, similar and monotonous. Therefore, under the premise of following the principles of calligraphy style and structure, we should avoid risks and save the day. Through the combination of brush strokes, length, thickness and density, the artistic effect of "several paintings are applied at the same time, with different shapes, covering all aspects and bringing out the best in each other" is achieved, and its expressive force and artistic appeal are enhanced. The principles of change mainly include the following points.
Preface to the sacred instruction of Yanta
(1) Highlight the main pen.
Liu Xizai in "Art? The book "Outline" says: "Whoever paints a mountain must have a main peak, which is arched by the peak; Whoever writes must have a main pen, and the main pen is arched by the remaining pen. The main pen is poor, and the rest are defeated, so those who are good at books contend. "The main pen is a stroke that can cover, carry, penetrate or cover other parts of a word. The main pen is stretched or thick, which plays a role in stabilizing the structure and transmitting the spirit in the whole word. To be strong, you must pay special attention to the main pen. Compared with the main pen, the remaining pen is often thin and convergent, setting off and setting off the main pen. Only by prioritizing can we achieve vivid scenes and mental exhaustion.
2) Density contrast
In regular script, density contrast is one of the important forms of expression. Whether a word is complex or simple, it should have density change, sparse stroke stretching and dense stroke convergence. If you blindly seek thinning, although the font is wide and wide, it is easy to disperse; Blindly seeking secrecy is compact, but cautious and urgent. There are density changes in the words, and the fonts are dignified and solid, and comfortable and flying.
(3) Positive and negative set each other off
It is straight and square, and it leans to the side. Calligraphy should not only avoid being flat, stiff and dull, but also avoid being nervous and excessively inclined. Stand upright blindly, like a puppet; Take risks blindly, like a madman. Both should be avoided. However, if we can be positive, respect change and set each other off, we can get the ideal artistic effect.
4) Because of the vertical form of words
Although standardization is the first feature of regular script, which requires each character to be square and uniform, it is not a fixed pattern to arrange characters with different structures, which is probably the difference between calligraphy and font! The word is long, small, oblique, dense and naturally uneven. If we insist on unification, it will be "like an operator" and lifeless. Therefore, based on our natural structure, every word should be managed as long as it is long, flat and flat, big and small, without losing the overall style.
(5) Deformation and posture
The same strokes and radicals in a word, or the same words in a work, should be different in form and avoid similarity.
In addition, sometimes in order to express special artistic effects, we can change the basic shape of stippling, change the position of stippling, increase the structural form and avoid monotony. Change must be established, and you can't scribble and create glyphs at will.