question 2: what should we pay attention to when writing lower case letters? To write lower case letters well, it is a key problem to write and use your wrist. Zheng Zijing said: "the husband holds the author, and the key to the dharma book is also." Although the general law enforcement is not very different from writing running script and capital letters, capital letters also have their own characteristics. Let's talk about several aspects that should be paid attention to when writing capital letters: (1) "Finger is solid and palm is empty, wrist is flat and palm is vertical" is the basic law. The so-called "finger is solid" means the five-finger writing method of L, pressure, hook, grid and touch. L press the belly of the first section of the big finger against the top of the pen tube, and the force is toward the upper right, which should be inclined. Press the upper end of the index finger against the outside of the pen tube, and the force is opposite to that of the big finger. Hook the upper section of the middle finger near the horizontal stripes, bend like a hook and hook the pen tube, with the force facing the lower right. The joint between the ring finger and claw is close to the pen tube, and the strength is opposite to that of the middle finger. Touch the little finger against the lower end of the ring finger to increase the finger force of the ring finger. Due to the reasonable distribution of the five fingers, the strength is gathered from all sides, and a pen is firmly held in the hand. When writing small letters, it is advisable to write shallowly, and stick the finger end to the tube, because the finger end feels sensitive. If you write shallowly, your palm will be naturally weak, and if your palm is weak, you will exercise comfortably, and there will be no hindrance. The "stirrup pulling method" put forward by Li Houzhu in the Southern Tang Dynasty has been interpreted by calligraphers in different dynasties. Some people think that people who are good at riding horses can easily get in and out when stepping on their toes. Some people think that stirrup pulling means that the ancients used their fingertips to pull out the lamp center with a small stick, which is a metaphor for the shallow holding method. Some people think that because of the shallow writing, the tiger's mouth is like a stirrup (that is, Cheng's writing method). When writing small letters, you should not hold the pen too tightly or too loosely. If it is too tight, the pen will be stiff, and if it is too loose, the stippling will be weak. Therefore, it is better to use hard and soft strength, tight but not dead, loose but not loose, not wide and not fierce, and there is a way of neutralization. Zhao H-guang said in Cold Mountain Broom Talk: "If you hold the tube too tightly, your strength will stop at the tube, and it will make the tube inflexible and safe to command." This is indeed the language of experience. The pen force should penetrate through the shoulders, elbows, wrists and fingers to the tip of the pen. The muscles of all joints should not be tense and hard. If you hold it too tightly, the force will stop at the tube. If you are nervous at the wrist, you can't penetrate the tip of the pen. Therefore, Su Shi proposed that the pen should be empty and wide, and only empty and wide can it work freely. When writing small letters, if the pen is held too deep (that is, it is held at the middle section of the food and middle finger), the palm is bound to be empty, and the fingers are deep and solid, so that the pen can not be rotated forward and backward, which may easily lead to the stagnation of the air machine and the ineffective transportation. When writing small letters, the pen should not be too high, so that it is about an inch away from the written head. If it is low, it is calm and firm, and the words are not erratic. Tang Wei Rongzong said: "The true book is small and dense, and it is appropriate to hold it close to the head." Zhao H-guang's "Cold Mountain Broom Talk" also said: "The real book should be steady, so write an inch or an inch." If the pen is too high when writing small letters, the painting potential is vain, but there is no strength. In this case, the small letters are mainly composed of heavy ends, and a lower pen can better control the pen power. When writing in small letters, the wrist should be flat and the palm should be vertical (that is, the elbow and wrist should be flat on the desktop, and the palm should be slightly erect when the wrist can stand up, keeping an oblique angle with the paper). When the wrist is flat and the palm is vertical, the front is easy to be positive, and the front is regular and full of potential. It must be made clear here that when writing small letters, the pen tube does not always keep perpendicular to the paper surface and move in parallel. When the pen tube is centered on the straight line, it will roll up and down with the movements of the pen, only when it is made by the will, and when it is closed, if the end leads the rope, it will eventually be held upright, then the pen gesture will naturally be round. Especially when writing small letters with Fang Bi's side, when writing a pen, it is not appropriate to hold the pen straight down. When the pen tube is slightly tilted to the right, it will be smooth and smooth, and the handy effect can often be achieved. Zhu Hegang's "Linchi Xinjie" said: "I even say that the pen is like a marksmanship. When I am left and right, I will turn to the front and the front, and I will follow the trend, concentrate on it, manipulate my heart, and sometimes it will be slightly sideways, which will make it more clever." This passage is worthy of our aftertaste. If we stick to the center as the fixed method and blindly take it as the right one, it is bound to fail to achieve a round and natural change. In short, the method of writing, but take the appropriate, not curious, so that the pen can be fully played. (2) Finger-dead wrist is the basic method of writing small letters. Wrist should be loose and flexible, not too nervous or too hard, which will make the wrist stiff. Even if there is wrist strength, this force can't be exerted. The function of wrist is mainly to adjust the pen tip, and change the pen heart secretly through actions such as lifting and stumbling, so as to achieve the purpose of the center's pen stroke. Only when the front is hidden can it sink into the bone. To live by one's wrist means to carry a pen ...... > >
question 3: how can we write small letters well? to learn small letters well, we should choose the right brush, the right paper and the right method of pasting. These three items are crucial.
Choose the right brush:
There are many kinds of brushes. When learning for the first time, I hope you will choose the brush of "Seven Purple and Three Sheep". Because the writing brush of "Seven Purple and Three Sheep" is hard and easy to master, which is very important for your future study.
when choosing the stroke peak, we should choose the appropriate length, because the stroke peak is too long to master, the stroke peak is short to write regular script, and easy to master, and the stroke peak is too short to master the law of writing in small letters.
Choose the right paper:
For beginners, it's good to use rough edge paper and meta-book paper, and then use Xuan paper after a certain achievement.
Maobian paper is bamboo paper produced in Jiangxi province. It is delicate, thin and soft, with light yellow color, no water resistance and good ink-holding and water absorption. It is suitable for writing and printing ancient books. Maobian paper produced in Sichuan can be divided into two categories: one is hand-made raw edges, soft cotton, thick and delicate, light yellow in color, and the two sides feel the same, and it is made by hand with tender bamboo pulp. Moderate water absorption, writing feel is quite good, the majority of calligraphy lovers are very fond of it, in order to practice affordable varieties.
meta book paper is a kind of bamboo paper. It was called red pavilion paper in ancient times. Using the tender bamboo as raw material, the writing paper with brush is made by hand. Location: Fuyang City. It is called Xie Gong Paper or Xie Gong Note. It is characterized by white and flexible, slightly fragrant with bamboo, easy to dissolve in water, impervious to ink, and not moth-eaten or discolored after long storage. In ancient times, it was used for painting and calligraphy, writing official documents, making books and so on.
Xuan paper is divided into raw Xuan, semi-cooked Xuan and cooked Xuan. Shengxuan has strong water absorption and water affinity, and it is easy to produce rich Mo Yun changes. By splashing ink and accumulating ink, it can collect water and faint ink, and achieve the artistic effect of water flowing. Use it for freehand brushwork. Cooked Xuan is coated with alum during processing, so the paper is harder than raw Xuan, and its water absorption capacity is weak, so that the ink and color will not spread out when used. Therefore, the characteristics make cooked propaganda suitable for meticulous painting rather than ink freehand painting. Semi-cooked propaganda is also processed from raw propaganda, and its water absorption capacity is between the first two, which is just suitable for writing in small letters.
The correct method of posting:
With the basic knowledge of regular script, master the shelf structure and brushwork of regular script, and then write Wei Bei, official script, running script and cursive script. Even seal script can get twice the result with half the effort. Regular script can enrich and change the structure of Wei Bei and Lishu, such as Zhu Suiliang's regular script; The penetration of regular script into running script and cursive brushwork can increase agility, such as some regular script inscriptions by Zhao Meng.
The best way to practice regular script is to paste it. In fact, you can paste any paste. You can choose a tablet according to your own preferences, including Wang, Yan, Ou, Liu and Zhao. Another tablet is also better, which is the Ling Fei Jing written by Zhong Shaojing in the Tang Dynasty. But when buying tablet stickers, try to buy better quality copybooks.
on the basis of selecting posts, you have to go through five steps: reading posts, tracing, copying posts, memorizing posts and creating.
the first step is to read the post
We all know the pronunciation of Chinese characters on the post, so we don't need to read it again. Read what? Read the font, read the structure, read the strokes, and analyze the stroke characteristics of the characters and the relationship between the strokes. For example, when we read the Chinese character "Zhong", we should read that one vertical line of "Zhong" passes through the middle of "Kou", and the word "Kou" is slightly flat. The long vertical line in the middle is divided into two sections with equal length by the lower horizontal line of "Kou", and the upper horizontal line of "Kou" is divided into two sections with equal length. This is the reading of glyphs and structures. Different fonts and strokes have different characteristics.
the second step is tracing. "Tracing" refers to tracing red, that is, beginners describe the printed red copybook with a brush along the handwriting. "Imitation" refers to copying posts, that is, covering the model words with transparent paper and writing one by one along the shadow of the words on the paper, which is also called writing imitation.
the third step is to post. It refers to putting the copybook aside and watching the copybook write word by word. This method is helpful to master the brushwork and meaning of the words, but it is not easy to master the structure of the words.
the fourth step is to memorize posts. Refers to the method of removing the copybook on the basis of the copy, recalling the font on the copybook according to your own memory and writing it on paper. This is a key step in practicing Chinese characters. Only by carefully examining the written words and knowing them in mind can you write accurately. When writing, if you can see the exact font of the Chinese characters you want to write on the white paper, so that "the words are on the paper, and the words are on the chest", it is not a problem to write a good hand.
the fifth step is posting. On the basis of mastering the writing method of the words on the copybook, I learned the writing method of the words not on the copybook by analogy. According to the needs of one's own expression, writing a paragraph with center, content and self-contained system is creation.
If you can write a hand that is close to the copybook in your daily study and life, your goal of practicing calligraphy will be achieved.
calligraphy posture ... > >
Question 4: How to lay out the small letters? First, there are lines vertically and columns horizontally. This layout is suitable for the content with more words and must be completed within a certain scale. Through calculation, we can grasp the number of words. The lattice of lower case letters should be slightly flat, so that the word spacing is tight and the line spacing is slightly open. Naturally, the whole layout is neat and symmetrical, and it has the beauty of artificial accumulation. This kind of vertical and horizontal boundary is called "Wusi Lan" by the ancients. Jiang He's Authentic Calligraphy says: "There are three kinds of white cloth: white cloth in words, white cloth word for word, and white cloth between lines. Beginners all stop evenly. When they know that they stop evenly, they seek change, oblique and dense, and scattered in between." Because every word is bound in a frame of the same size, it is also the easiest to bind a person's creative spirituality. When writing this composition, we should pay attention to two points: first, every grid is a small world, and there is also a small composition in this Xiaotian field. The arrangement of glyphs should be very appropriate and just right in this space, neither too big, indomitable spirit, nor too small, the world is empty, the left and right are empty, and there are too few blanks, so the composition is tight, and if there are too many blanks, the layout will be evacuated. When writing small letters, you must first look at the position of the first pen. If this pen is wrong, it will be all out of position and cannot be saved. It is not easy to master this method. It is rare to write more and copy more. Second, we should pay attention to the fact that the first word is bound within the same size space. Therefore, we should avoid flat structure and uniform size. Instead, we should try our best to make up for the shortcomings of this style by changing the size, length, width, odd and positive, density, opening and closing, expansion and contraction of the word, and strive to be flush in jagged and symmetrical in scattered. Therefore, writing can make up for the shortcomings of this style. Second, there are lines vertically, and there are no columns horizontally. This kind of composition is most used in small letters. People in the Jin and Tang Dynasties wrote scriptures, while people in the Yuan and Ming Dynasties wrote them by hand, and they like to use this method. This layout is more flexible than the previous composition because it broke the shackles of horizontal grids. In particular, it is necessary to pay attention to the uneven changes in a line, and the lines are patchy and have their own posture. Gaizi is long and short, wide and narrow, large and simple, and it is impossible to generalize, but it can be unique and make the best use of the situation. Although the complex characters are different, the lines are unique, which is a natural and unexpected thought. "Write in lower case letters. Although this change is not as strong as cursive script, it can only be as beautiful as nature if there is a change in uneven level.
Because this kind of composition breaks the shackles of horizontal grids, we should pay special attention to the relationship between the upper and lower characters in each line and the flow of the spirit. Where the characters are not recognized as dense and oblique, there must be spiritual ties, and regular script often produces momentum through the ups and downs of the glyph. Bao Shichen's "Double Use of Arts" said: "The fonts of ancient posts are quite different in size, such as the old man carrying them. This kind of layout, which seeks nature in unevenness and continuity in strewn at random, greatly increases the interest of writing in small letters.
In this way, the spacing between lines is empty, and there is also a statute. Generally speaking, the spacing should be white, the distance should be even, and it is natural to get the right place up and down, and the left and right sides should be commensurate. However, there are also people with tight spacing and wide line spacing, and Huang Daozhou and Ni Yuanlu often like to adopt this kind of composition in the late Ming Dynasty. There are also rules of spacing and spacing. For example, Yang Ningshi and Dong Qichang in Zhang Jizhi like to use this method. There are also rules of spacing and spacing that are red and special. For example, Yan Zhenqing's "The Little Magu Fairy Altar". In short, this kind of flexible layout, the secret is not close, the sparse is not far, the secret is flowing, lively and not dull, although it is dense and sparse, the so-called blank is less and the spirit is far away. Those who are sparse are wrapped in a bundle, and the circulation is not stagnant. Although they are sparse, they are dense. The so-called blank is too dense. Only in this way can we achieve the effect of proper density.
Third, there are no columns horizontally and no lines vertically. This kind of composition completely breaks the constraint of Wusi Lan, so it is the easiest to give full play to one's artistic personality and the most free and frank pen and ink interest. It originated from the ancient inscriptions in Jin and Jia Dynasties, that is, the inscribed characters and the early inscriptions in Zhong Ding. These ancient characters are either positive or oblique in composition layout, big or small, and sometimes sparse and dense. Take the whole article as a word, take the whole picture as a whole, emphasize the balance and symmetry of the whole, contrast and care with the unity of our sample, seek the balance and symmetry of the whole from the asymmetry of the local uneven front, and from each ... >; >
question 5: how to reprint the first chapter of writing small letters? the characteristics of writing small letters in the first section are a key issue in writing small letters. Yuan Zheng (Zi Zi Jing) said: "The husband holds the author, and the key to the dharma book is also". Although there is no great difference between the general law enforcement and writing running script and capital letters, capital letters also have their own characteristics. Let's talk about several aspects that should be paid attention to when writing capital letters: (1) "