brief introduction
Regular script means regular script, which was first mentioned in Zhang Huaiguan's Shu Duan. In the Han dynasty, it was also another name for "regular Chinese characters", which was still used by people in the Six Dynasties. For example, Yang Xin's Cai and Lun Shu all said in Biography of Wei Shengshou: "Birth characters are good at regular script." That's the abbreviation of "eight-block method", which didn't replace the name of the official book until the Northern Song Dynasty, and its content was obviously different from the ancient name. There is probably an example of the above. If these concepts are not clear, they will inevitably confuse other aspects forever, which is useless. Edit the development history of this paragraph.
Song Xuanhe's Book Score: "Wang Cizhong began to use official script as regular script in the early Han Dynasty", which is believed to have been written by ancient officials.
regular script
Evolved. It is said: "On the tomb of Confucius, a regular script tree planted by Zi Gongzhi has straight and unyielding branches." The strokes of regular script are concise and refreshing, and must be like the branches of regular script trees. In the early days, there were few official handwriting, the structure was slightly wider, the horizontal painting was long and the vertical painting was short. In Wei Jinzhong handed down from ancient times, such as Zhong You's "Declaration Form" (left), "List of Recommended Seasons", Wang Xizhi's "Le Yi Lun" and "Huang Ting Jing" can all be regarded as representative works. Look at its characteristics, as Weng Fanggang said: "Change the wave painting of official script, pick it up, and still keep the vertical of official script." After the Eastern Jin Dynasty, the north and the south were divided, and calligraphy was also divided into two factions. The calligraphy style of the Northern School has inherited the legacy of Han Li. Its brushwork is simple and rigorous, but its style is simple and rigorous, so it is called "Weibei". Southern calligraphy is more sparse and beautiful than letters. During the Northern and Southern Dynasties, because of regional differences, personal habits and book styles were very different. The books in the North are strong and the books in the South are rich, each of which is wonderful and inseparable, while Bao and Kang Youwei highly admire the books of the two dynasties, especially the epitaphs of the Northern Wei Dynasty. Kang cited ten beauties to emphasize the advantages of Weibei. Regular script in the Tang Dynasty, like the prosperity of the national situation in the Tang Dynasty, is really unprecedented. Calligraphy style is mature, and calligraphers come forth in large numbers. In terms of regular script, Yu Shinan, Ou Yangxun, Chu Suiliang in the early Tang Dynasty, Yan Zhenqing in the middle Tang Dynasty and Liu Gongquan in the late Tang Dynasty all valued their regular script works and regarded them as models of calligraphy. In ancient times, there was a saying: "Learning calligraphy must start with the pattern, and writing must start with the big characters. Chinese characters are based on face, Chinese characters are based on Europe, Chinese characters are ripe, and then they are gathered into small characters, taking Zhong Wang as the method. " However, according to the results of many years of experimental research, it is not appropriate for beginners to learn too big words first, but it is more suitable for Chinese letters.
regular script
The regular script of Ou Yangxun, Yu Shinan and Chu Suiliang, three great calligraphers in the early Tang Dynasty, is the most suitable model for copying Chinese characters. This is a brief introduction as follows: Ou Yangxun's block letters, which originated from ancient Li, are in the style of two kings and the style of northern schools in the Six Dynasties. They are unique in structure, unique in originality, authoritative and influential in society, and are the standard for learning books. Investigating the characteristics of regular script, the pen is strong and powerful, the strokes are neat and tidy, and the structure is cheerful and healthy. His representative works of regular script inscriptions include "Jiuchenggong Liquan Ming" and "Huadu Temple Monument". Yu Shinan's regular script, elegant and graceful, inherited the legacy of the wise and brave Zen master and was the clique of the Wang school. Although it originated in Wei and Jin Dynasties, its softness on the outside and rigidity on the inside swept away the cowardice of Wei and Jin calligraphy style. His masterpiece in regular script is Confucius Temple Monument. Chu Suiliang's regular script is famous for its sparseness and strength. Although he is the ancestor of the right army, he can win its charm. Its font structure seems to be very bold and unrestrained, but it can subtly reconcile the quiet style and create an unprecedented situation. Its representative work in regular script is the preface to the holy teachings of Yanta. Lower case, as the name implies, is a kind of lower case, which was founded by Zhong You in the Wei Dynasty of the Three Kingdoms. He is the most outstanding authoritative official script master, and his regular script style is also born out of Han Li, and his brushwork is very vivid. However, the structure is wide and flat, the horizontal painting is long and the vertical painting is short, and the legacy of official division still exists. However, the model method is ready, and it is actually the ancestor of the official book. When Wang Xizhi came to the Eastern Jin Dynasty, he studied the lower case calligraphy more carefully and made it perfect, which also set a good appreciation standard for China's lower case calligraphy.
Generally speaking, writing small characters is very different from writing big characters. In principle, writing big characters should be close and seamless, and writing small characters should be more spacious. In other words: writing big characters should be as accurate as writing small characters; Writing small characters is as cramped as writing big characters, so the ancients said, "Writing big characters should be like small characters, and writing small characters should be like big characters." In Su Dongpo's prose, there is a saying that "the big characters are hard to be seamless, and the small characters are hard to be generous". How do you say these words? Because when we usually write big characters, we think that our position (area) is very wide and we can write freely. As a result, the fonts become loose and empty. Writing small print is just the opposite, because the space is too small, and it is inevitable that you will try your best to shrink it if you are worried that you can't write it. It tends to curl. This is a natural psychological phenomenon, which is easy to break. Therefore, the CPSU's statement that "there are great difficulties and minor difficulties" is based on this statement and is based on experience. There is not much difference between the center of gravity of writing fine print and the coordination of strokes. As for the pen, it is slightly different. Small print should be round, beautiful, straight and neat; Big characters should be magnificent and heavy. Use the back front (hidden front) to write big characters and the back front to receive pens; You don't have to use sharp edges to write fine print, but use sharp edges to collect pens. For example, when writing a horizontal line, the pen is pointed or pointed, and the pen is round; Write vertically, start or pause, and receive the pen sharply; Skimming the pen to make it fat: hold the pen to make it fat, and at the same time bend slightly from left to right, with vivid and emotional strokes; Point should be sharp and round, pick should be sharp and sharp, bend inside and outside, and hook should be half bent and half straight. The pen is flexible and limitless. In particular, the whole word should be written in different strokes, but in harmony. A line of words is patchwork, but it has always come down in one continuous line. If there is, it will naturally run through and look like a pearl necklace. Fine print is a necessary calligraphy for daily use in ancient times. Before taking the imperial examination, most people who read the papers read the words first and then the articles. No matter how good the writing is, the article will be affected. He is the top scholar in the imperial examination and an academician, especially paying attention to calligraphy. So every scholar and Hanlin's fine print is exquisite. Generally reading, they are also good at writing small characters. Hard pen is popular now, and few people write small words with a brush. But writing small words with a hard pen can get twice the result with half the effort. Therefore, if you want to write hard pen, you might as well find a good fine print and practice it. Will certainly lay a solid foundation, lifelong benefit, inexhaustible. There are many copybooks in small letters, among which the reputation of small letters in Jin and Tang Dynasties is the most prominent. These books usually include Wei Shizhong's Announcement Post and Ji Zhi Biao, Wang Xizhi's On Music and Yi, North's Huang Ting Jing, Luo Shen Fu Thirteen Lines, Tang Zhong Shaojing's Ling Fei Jing and so on. There are also ink photocopies of works in lower case such as Yuan Zhao Mengfu, Ming Wang Chong and Zhu Yunming, which are also good examples. Zhong You's calligraphy style is simple, but none of the handed down works "Declaration Form" and "Recommended Season Table" are true, and most of them are handed down or temporary works by later generations. Appreciating a good copy, you can imagine its quaint style. Edit this paragraph classification
1~2 cm in small print, 5 cm above in large print, and the middle in Chinese characters.
regular script
But this is just a general division. In fact, there have also been small characters of 10 cm and large characters of1.8m. As the name implies, it is the smallest type of regular script, which was founded in the Wei Dynasty of the Three Kingdoms. He used to be the most outstanding official script authority, and his regular script brushwork was also born in Han Li. His brushwork is as vivid as Hong Fei's frolicking in the sea. However, the structure is wide and flat, the horizontal painting is long and the vertical painting is short, and the legacy of official division still exists. However, the model method is ready, and it is actually the ancestor of the official book. When Wang Xizhi came to the Eastern Jin Dynasty, he studied the lower case calligraphy more carefully and made it perfect, which also set a good appreciation standard for China's lower case calligraphy. Edit this paragraph with regular script celebrities.
There are many regular script writers, such as Wang Xizhi, Ou, Yan, Liu and Zhao.
regular script
The most influential calligrapher in the history of Wang Xizhi's calligraphy is Wang Xizhi, a calligrapher and writer in the Eastern Jin Dynasty. Words escape less. Langya was a native of Linyi, and later moved to Yinshan Huiji (now Shaoxing, Zhejiang). Known as the "book saint." He is also good at poetry, but his literary talent is mostly covered by the name of calligraphy and is not valued by the world. He used to be the right general and civil servant of Huiji, and was called Wang Youjun. They are called "book saints". Wang Xizhi's running script Preface to Lanting is known as "the best running script in the world". Critics say that his writing style is like floating clouds, and Wang Xizhi's handed down Mo Bao can make you deeply understand the word "Miao". His works are wonderful, and there is no suspicion of similarity and boredom. China's calligraphy reached the highest peak in his works, but later generations only developed and perfected it in some aspects: meaning or method, rhyme or momentum. There are many people who have gone too far. Generally speaking, they are unparalleled. Ou Yangxun-Ou Ti was born in the first year of Chen Yongding in the Southern Dynasties (557) and died in the fifteenth year of Zhenguan in Emperor Taizong (64 1). He was born in Linxiang (now Hunan) in Tanzhou. Known for regular script and running script. As the largest official calligrapher in the history of calligraphy, his handwriting is called "European style", which is as famous as Yan (Zhenqing), Liu (Gongquan) and Zhao (). Liu Gongquan, Liu Ti, was born in Dali, Tang Daizong in the 13th year (778) and died in the 6th year of Emperor Yi of Xiantong (865). The word Cheng, Jing Zhao Huayuan (now Yaoxian County, Shaanxi Province) was born. Famous regular script writer in Tang Dynasty. Yan Zhenqing-Yan Ti Yan Zhenqing (709 ~ 785) was a calligrapher in the Tang Dynasty. Chen Qing, a native of Jingzhao Wannian (now Xi, Shaanxi), was originally from Linyi (now Linyi, Shandong). The History of Books is also called Yan. Be upright, be upright. The innovator of calligraphy in the Tang Dynasty set up a banner for calligraphy in the prosperous Tang Dynasty. Yan Zhenqing studied books since childhood and was taught by Zhang Xu. He also studied and developed Cai Yong, Wang Xizhi, Wang Xianzhi and Chu Suiliang, and formed his own unique style. Its regular script is square and dense, the strokes are light and heavy, the brushwork is vigorous and round, and the momentum is solemn and majestic, so it is called "Yan Ti". His cursive script is concise and powerful, with ups and downs. Zhao Mengfu-Zhao Mengfu, Zhao Ti (1254- 1322), a native of Huzhou, Zhejiang. Official to Hanlin Bachelor, Doctor Rong Lu, Duke Wei, History. He is the author of Song Xuezhai Collection. Zhao Mengfu was an influential calligrapher in the early Yuan Dynasty. "Biography of the History of Yuan Dynasty" records: "Meng Yi's calligraphy is the highest in ancient and modern times, so the title of the book is the world." Praise. According to Song Lian, a scholar, Zhao's calligraphy learned Lingling's Eight Intellectuals in his early years, Zhong You and Fairy in his middle years and books in his later years. In addition, he also visited Dingding Monument in Yuan and Wei Dynasties, Yu Shinan and Chu Suiliang in Tang Dynasty, which was a great achievement of predecessors. As Wen Jia said, "Gong Wei's calligraphy is superior to the ancients, and they are all imitations. "So, Zhao's success in calligraphy is inseparable from his ability to learn from other people's long sentences. The four famous regular script writers are: Tang (European style), Zhenqing (Yan style), Gong Quan (Liu style) and Yuan Zhao Mengfu (Zhao Ti). First of all, calligraphy reached its peak in the Tang Dynasty. When it comes to regular script, words must be called Yu, Ou, Chu and Yan. Yan Zhenqing is one of the most innovative calligraphers. Yan Zhenqing (709-785) was born in Jingzhao Wannian (now Xi, Shaanxi). He comes from a noble family and is the fifth grandson of Yan Shigu, a famous scholar. Yan Zhenqing is honest and clean, and is famous for his loyalty and loyalty in officialdom. He used to be a veteran of the four dynasties, and his career was ups and downs, and he didn't care. Later, I was ordered to recruit me from Huaixi to make Li Xilie and Li Xilie rebel and was killed by Li. Yan Zhenqing's calligraphy originated from his own school, but its transformation was initiated by Wu Xu. Because he can choose one hundred schools at the same time, he can choose freely, leaving a lot of books and posts to show his skills. When Fan Wenlan, a historian, mentioned books in the Tang Dynasty in his works, he said that "Yan Zhenqing in the heyday of the Tang Dynasty was the creator of the new book style in the Tang Dynasty". Yan kaishu embodies a prosperous style and is magnificent; And his cursive script made Mi Fei in the Song Dynasty like the Four Books, because those book posts were often written in a state of extreme grief and indignation, and readers can appreciate the flavor from this article. Emotion is dissolved in art, and artistic talent breeds soul. Most excellent arts in history have not violated this standard. Yan Zhenqing, a genius in the book world. For thousands of years, only Yan can be compared with Wang Xizhi, the sage of books, and stride forward in the world of books. Of course, Yan Zhenqing was crowned as the crown in the Tang Dynasty, and Yan Shu was also regarded as the grand marshal in the Song Dynasty. Since then, Yan Zhenqing's book soul has formed a huge force and accumulated into an important part of China's book soul. Yan Zhenqing Biography of the New Tang Dynasty praised: "Although it has been 1,500 years, its heroic words are awesome and admirable! "The life of the sun and moon hero is an inexhaustible source of watering his wonderful calligraphy. Second: Liu Gongquan, who was 88 years old in the 13th year of Dali, Tang Daizong (AD 778) and the 6th year of Xian Tong, Tang Yizong (AD 865). Jingzhao Huayuan (now Yaoxian County, Shaanxi Province) was born. The palace is a prince, so the deceased called it "Liu". He began to learn from Wang Xizhi, the brushwork of Ou Yangxun and Yan Zhenqing, and then set up his own family. The regular script written is beautiful and strong. Compared with Yan Ti, Liuzi is slightly thinner, so it is called "Yan Liu Jin Gu". Mu Zong asked Liu Gongquan how to use a pen, and Gong Quan replied, "With a pen in your heart, your heart is right." Mu Gong's face changed greatly. In the Song Dynasty, Zhu Zai said: "The public power official book has the best operation mode, but the grass can't." Its method is mainly based on beauty, but it is rich and famous. "He began to learn Wang Xizhi's brushwork, and later he read the calligraphy in the modern style, so he tried his best to change the right army method, learn from Yan Zhenqing, and assimilate his new ideas, so that his calligraphy avoided the trend of horizontal and vertical, adopted a balanced and thin and hard technique, and steadily chased Wei Bei, making his brushwork simply beautiful, vigorous and tight. Many scholars in later generations took Liu Zi as a model. He was a 29-year-old scholar and served as a junior official in the local area. Later, Tang Muzong came across his handwriting. Once called to Chang 'an by the imperial court. Liu Gongquan was in his forties at that time. His character is both backbone and meticulous. Similarly, his handwriting also reveals this part of his characteristics. Because of this, his reputation and position in Chang 'an have been improved, and the general princes and nobles are scrambling to invite him with huge sums of money. Calligraphy in the late Tang Dynasty experienced prosperity in the middle of the prosperous Tang Dynasty, but it also reached its peak and declined. Although Liu Gongquan's fame was popular for a while, he was still slightly better than Yan Shu. Calligraphy flourished in the Tang Dynasty, but now it has declined. Liu Gongquan's regular script involves Ou Yangxun's brushwork, and some strokes are often closely interspersed, which is particularly broad, fine and angular. Although the pen was written by Yan Zhenqing, it is different from Yan Zhenqing's vigorous and broad style, which is particularly heroic. Liu Gongquan died at the age of eighty. He served seven emperors and finally died as the Prince of Shao Shi. There are many books handed down from ancient times, among which Mysterious Tower, Shence Army Monument and Diamond Sutra are the most prominent. 1, Monument to the Shence Army: in regular script, established in the third year of Tang Huichang (AD 843). It is one of Liu Gongquan's representative works, which is more distinctive than the book style of Mysterious Tower, which is widely known in later generations. The structure is smooth and even, and the left side is tight and the right side is comfortable. It is also a good model for temporary writing. 2. The Diamond Sutra of Liu Shu: in regular script, in the reign of Tang Changqing (AD 824), engraved in April. The original stone was destroyed in the Song Dynasty. Tang Tuo, a stone chamber in Dunhuang, Gansu Province, was handed down from generation to generation, intact, and is now in the Paris Museum, France. Critics believe that the regular script Diamond Sutra is a masterpiece of Zhong (Yao), Wang (Xizhi), Ou (), Yu (Heather), Chu (Sui Liang) and Lu (Dong Zhi), which has high artistic value. 3. "Mysterious Pagoda": regular script. The first year of Tang Huichang (AD 84 1 year) was established in February, and the original monument is now Xi 'an stele forest in Shaanxi. This monument is the most famous book handed down from generation to generation. It is one of the most influential models in regular script. Edit this paragraph for regular script learning.
In ancient times, there was a saying: "Learning calligraphy must start with the pattern, and writing must start with the big characters. Chinese characters are based on face, Chinese characters are based on Europe, Chinese characters are ripe, and then they are gathered into small characters, taking Zhong Wang as the method. " However, according to the results of many years of experimental research, it is not appropriate for beginners to learn too big words first, but it is more suitable for Chinese letters. The regular script of Ou Yangxun, Yu Shinan and Chu Suiliang, three great calligraphers in the early Tang Dynasty, is the most suitable model for copying Chinese characters. Let big characters be like small characters, and let small characters be like big characters. Regular script is an important part of the formal beauty of calligraphy. Stippling is the beauty of lines, frame structure is the beauty of local composition, and composition is the beauty of overall composition. The laws of Zhao Ti's regular script can be studied and grasped from two aspects. First, uniformity. The overall sense of regular script, first of all, is neat. The arrangement of words and lines is equidistant, giving people a steady and solemn visual effect. This form is most suitable for regular script in a strict sense. If the shapes with different knot widths and lengths change locally, there will be no disharmony or monotony in regular script that is uniform but not stiff. Second, diversity and unity. The biggest feature of Zhao Ti's regular script is that it contains elements of running script, and its brushwork is changeable, taking characters as shapes, without deliberate arrangement, and it has a very harmonious and unified relationship in diversity and changeability. It gives people the feeling that there is movement in silence and affection in words. A calligraphy work is first infected with its overall effect, which is composed of countless parts. Therefore, when arranging the composition, we should not ignore the details of each word, such as the shape, length, change, and sense of rhythm, which require careful consideration and strict design. Only after a long period of unremitting tempering can we handle the composition freely, presenting a design beauty that seems to have no design and reaching a higher level of calligraphy art. The rules of regular script are not complicated, and its main forms are nave, couplets, banners and so on. In the arrangement of regular script, the word spacing and line spacing are basically the same, but some line spacing is greater than the word spacing; They are all written vertically from right to left, and those with fewer words are still written from right to left; Modern Chinese is written horizontally from left to right. This method can also be used under special needs, but it is better to write vertically from right to left.
Preface to Huang's Ming Lake in Jinan in Past Dynasties
Edit this paragraph in italics.
Regular script is the main style of Chinese characters. Kay, model, standard font. Pen regular script has the following characteristics:
First, pay attention to the pen.
Pen regular script strokes are Teton, Hidden Dew, Fiona Fang, Fast and Slow, etc. Use different pen methods to generate.
regular script
The shape and texture of lines are different, and different lines need different pen methods to reflect them. Pen regular script font is small, and the line thickness does not change much. If you don't pay attention when writing, the strokes will not meet the requirements, and the strokes will be weak, stiff and stiff. So you must go through strict training to master the method of using a pen.
Second, the strokes are clear.
Pen regular script should be clearly explained in terms of the starting and closing of each stroke, neat and standardized, clean and tidy, and should not be scribbled or adhered. However, there must be an internal echo relationship between strokes, so that strokes can be orderly, clear, solid and powerful, stop and keep, straight but not stiff, curved but not weak, smooth and natural.
Third, the structure is square.
Pen regular script emphasizes balanced distribution of strokes and radicals, stable center of gravity, appropriate proportion, correct and standardized font. The characters should be arranged together, with symmetrical sizes and neat lines. Although there are also uneven changes in shape, it is still relatively neat as a whole.