The Calligraphy Value of Mao Ming

The development of bronze inscriptions in the Western Zhou Dynasty can be roughly divided into three different stages: early stage, middle stage and late stage. The bronze inscriptions in the early Western Zhou Dynasty almost followed the style of the late Yin and Shang Dynasties. They are simple, dignified, magnificent and dignified, with vigorous and bold lines, and sometimes they are decorated with thick pens and dotted flowers. The mid-term style has changed, and the pen is dignified and smooth. Although there is a thick pen, its decorative meaning is obviously reduced, the writing meaning is enhanced, and the line style is gradually sparse. By the end of the Western Zhou Dynasty, the calligraphy of inscriptions on bronze inscriptions had reached its peak, and it tended to be completely mature in terms of pen, writing, layout and verve, while the fat pen completely disappeared, the formal beauty of lines became pure, and the shapes of characters became more free and lively. Mao was an outstanding representative of the late Western Zhou Dynasty.

Mao Dinggong, unearthed in Qishan County, Shaanxi Province in the late Qing Daoguang period, is 53.8 cm high, simple in shape and hemispherical in abdomen. There are 32 lines and 497 words cast on the abdomen, which is the longest inscription ever seen. According to its contents, Zhou Xuanwang was a royal family of Zhongxing. He got rid of the long-standing abuses and ordered Mao Gong to be loyal to the country, assisted the court and gave jade, silk, wine and food as his pet. It is an important document and material object to study the history of the Western Zhou Dynasty. Today, the Palace Museum in Taiwan is hidden.

Mao Dinggong is magnificent and magnificent. As a model work of bronze inscriptions in the late Western Zhou Dynasty, it shows the typical style and rational aesthetic trend of ancient calligraphy, showing the highly mature style of Da Zhuan, which is slender, persistent and elegant. The composition is loose, patchwork and natural, showing a naive artistic interest. Because Mao is unfolded in the bending form of a tripod, the author completes the perfect layout with oblique round lines and flexible square or long knots according to the situation. It can also be explained that the use of characters in the late Western Zhou Dynasty was not only for taking notes, but also for artistic expression in writing, which formed a form and law with skillful writing skills and expression techniques.

Mao's brushwork is round and precise, with simple lines, and the pen is mainly wrapped in the center. In the specific operation, we should go against the front and draw lots, which should be included in the pen, and the front is in the painting, as for the pen; It may not be the pen center, but just press the pen tip to stop, which is the so-called "flat-out method." Therefore, when writing, we should pay special attention to the vigorous, clumsy and strong lines. But when expressing the meaning of light and heavy changes, we should not pretend to tremble, otherwise it will be difficult to reflect its true meaning and lifeless.

On the basis of accurately grasping Mao's pen, words and composition, how to be vivid also involves a question of how to use ink. Generally speaking, simply using light ink will appear thin and lack air. Similarly, the simple use of Jiao Mo will also appear withered. In order to blend ink and wash, light and thick, thick and tough, we have to use ink. This requires us to ponder, practice and observe more at ordinary times in order to achieve the artistic effect of moderate shade and dryness.

In addition, when writing wool, we should also pay attention to the choice of brush, and the characteristics of tools determine the effect of stippling. Wolf hair is elastic, sharp and key, and it is easy to show the lines with strong keys; Wool is soft and soft, and ink is slow, which is easy to show simple, tough and boundless brushwork. Therefore, when writing Mao Dinggong, wool should be used. As for the wonderful situation that a master can achieve perfection without tools, that is another matter. (Author: Zong Yiyao)