The cursive writing of the word "无"
The cursive writing of the word "无"
What is the stroke order of the traditional "无" in Wang Xizhi's cursive script? < /p>
How to appreciate the beauty of running script?
The quality of a calligraphy work is judged from two major aspects: First, the basic skills of calligraphy. The basic skills of connotation in calligraphy are determined by the following two points: First, look at the basic skills of the frame structure of fonts. When writing calligraphy, if the frame structure of a character is not written well, it may directly affect the meaning of the character, thereby affecting the aesthetic value of calligraphy. Once the frame of a character is set up, the font of the character is determined. "Zhen, Cao, Li, Zhuan", different fonts have different frame structures. When every calligrapher seeks changes in fonts, he first seeks changes in the frame structure of his predecessors' calligraphy. Li Si sought changes in the frame structure of Shi Zhou's large seal script and created the frame structure of small seal script; Cheng Miao sought changes in the frame structure of his predecessors' calligraphy and created official script. Wang Xizhi also sought changes in the frame structure of his predecessors' calligraphy, and developed regular script, running script, and cursive script. The structure of his handwriting is very beautiful. Most calligraphers of later generations sought changes in his frame structure and formed their own styles. A person who writes with a brush cannot even write the most basic structure of characters well, then he cannot become a calligrapher.
"Zhen, Cao, Li, Zhuan", each font has its own rules of writing. The rules of writing have changed, and the fonts have also changed accordingly. Perhaps new, better, and aesthetic fonts have been produced. When we appreciate the quality of a piece of calligraphy, we must look at the start, line, and end of each stroke, whether the stroke is strong, whether the stroke force is even and smooth, and when writing dots, horizontal strokes, folds, vertical strokes, hooks, and strokes. When making strokes such as , N, N, etc., do they conform to the writing rules of this font? These writing rules have been refined by the great calligraphers of the past. Every great calligrapher has different styles of writing, but what remains the same is that every stroke they write has skill and aesthetic value. Calligraphy
The strokes that a calligrapher has no skill in writing and have no aesthetic value are called "failed strokes". Therefore, calligraphers must take the good writing rules of the predecessors as the basis for learning and practice the basic skills of each stroke in calligraphy. For some calligraphy, there are words when viewed from the front of the paper, but no words when viewed from the back of the paper, indicating that the writer's pen is weak and unable to penetrate the back of the paper. In some calligraphy, the strokes are intermittent when viewed from the back of the paper, indicating that the writer's strokes are unevenly applied. For example, when looking at the character "大" from the back of the paper, the starting point is a dot, the ending point is a dot, and the intersection is a dot. There are 6 dots on the back of the entire character. This is caused by uneven stroke force. Wang Duo, who lived in the late Ming Dynasty and early Qing Dynasty, is known by the Japanese as the "Sage of Calligraphy" in Chinese Qing Dynasty cursive script. His calligraphy and painting works also have high prices in the auction market, but there are many flaws in his calligraphy strokes, which make people feel that his calligraphy is not enough. Refined. Zhan Jingfeng's calligraphy in the Ming Dynasty was very precise and had few mistakes.
Second, look at the connotative language. The language of calligraphy includes the following five points: The first point is whether there is literary connotation in calligraphy. A good calligraphy work not only reflects the meaning of each word, but also reflects the meaning of the article. The entire text of Wang Xizhi's calligraphy work "Lanting Preface" not only reflects the beauty of the font, but also reflects the beauty of the article. The beauty of the text and the beauty of the article are both embedded in the calligraphy work. The same is true for Su Dongpo's calligraphy work "Chibi Fu". These calligraphy works are called "literati characters". When we look at a calligraphy work, we often comment: "This is a scholar's calligraphy," "This is a calligrapher's calligraphy," "This is a craftsman's calligraphy." This is because the literary level of the writer is different, which is reflected in the words. The connotations expressed in the words are different and the feelings generated are also different. Reading good calligraphy works gives people room for their thoughts to roam. Appreciating calligraphy is like appreciating poetry, because calligraphy itself is a reflection of thoughts. Reading Wen Zhengming's calligraphy works is like reading pastoral poems, which will evoke associations with the pastoral. Reading the calligraphy works of *** and Guo Minruo will also give people associations with poetry. The third point is whether the calligraphy works contain the rhythm of music. In good calligraphy works, the structure of each word and the structure between words have the rhythm of music. When you read ***'s calligraphy work "Qinyuanchun·Snow", you feel as if you feel the most majestic symphony in the world. Sonata. Point 4: Does calligraphy contain the artistic conception of painting? "Calligraphy and painting are one body", words are abstract paintings, and good calligraphy works fully demonstrate the artistic conception of paintings. Point 5 is the connotation of calligraphy. The connotation of calligraphy includes whether it is grand or stingy, whether it is unrestrained, elegant or restrained, whether it is elegant or vulgar, whether it is heavy or frivolous, etc. These are all related to the character of the calligrapher. As the saying goes, "the words are like the person they are". *** Calligraphy is magnificent, which is determined by the courage of great politicians. Wang Xizhi's calligraphy is free and elegant, Yan Zhenqing's calligraphy is thick, and Wen Zhengming's calligraphy is elegant. In short, the rich language covered in calligraphy works should, from a certain perspective, be a reflection of the calligrapher's personality.
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How to write good calligraphy [running script] I felt very disappointed when I wrote a line of characters. Why?
How to become a calligrapher?
First: read some books
You may be a little disappointed at first glance: calligraphers are all literati, do I need to say this?
It seems necessary to say! Many calligraphers know how to write calligraphy without reading any books, so they often make common sense mistakes. I've seen it all the time, so that's why I said it in the first lecture.
The purpose of asking everyone to read some books is that on many occasions, you need to go along with the deception of various people in some groups, otherwise you will lose the opportunity to communicate with them, and if you don't do it well, you will be fooled. Others laugh at you. On this point, I admire the calligraphers in Jiangsu and Zhejiang. They talk about astronomy and geography, and they talk about the past five hundred years and five hundred years very clearly.
When calligraphy reaches a certain level (after the technique is surpassed), it needs to be nourished by knowledge. As far as I know, Hui Shu Club often holds reading groups, and often invites experts in literature, history, and poetry to give lectures. Now, scholars from the Hui Shu Society have become the new leaders in the study of calligraphy in the country.
Many people say that Jiangnan people have a good writing style, which means that they all have a bit of literary talent. Great calligraphers throughout the ages are not only good at writing calligraphy!
These days, there are more calligraphers than taxi drivers. If you have a little ink in your belly, you will look like you stand out from the crowd. Believe it or not!
Second: Have some own text content
A calligrapher has to write many brush words in his life. We can't just pick up a pen and just "go up to the cold mountain" or "stop the car and do what we want". . .
There are also calligraphers who write "Autumn has been a sad and lonely time since ancient times". Who likes that? Awkward? ! Or if you give someone a "ten years of life and death", ugh, it's a good thing if you don't get beaten.
Therefore, calligraphers must learn to "talk to people and talk to ghosts" in their creations! What's going on? What I mean is that calligraphers must have some unique content and the ability to adapt to changes.
For example: when you meet a leader, you give him the whole "moral virtue". Yes, he will like the leader no matter whether he has virtue or not. When you see a beautiful woman, if you give her "qi is like an orchid" or "beauty is like jade", she might give you a kiss. Hehe, this is the magic of words. It doesn't matter how good your handwriting is.
However, it is very vulgar that you always write these contents. It does not show that you are superior, it only shows that you have the basic needs to deal with the situation. To be an excellent calligrapher, you must have something unique of your own. Really, in many cases, just the right and wonderful content is more useful than what you write. What does it mean to be advanced?
For example: A friend of mine wrote a note to a person who had just been appointed secretary of the Political and Legal Committee after years of hard work, "The boat has crossed the Ten Thousand Mountains", hey! I thought it was wonderful when I heard it (applause 100 times). Is this content vulgar? But people use it just right, it’s amazing!
Another example: a famous calligrapher from Tangshan who gave lectures on CCTV. Don’t worry about how other people write. You can make a couplet with your name in just one minute after you say your name. I saw with my own eyes that one of our vice-presidents, Liang Yue, was immediately written as "a hero from Liangshan, and he was immediately drawn to the sword". This momentum is great!
In fact, many times, as a calligrapher, you have to face the society of people who don’t understand calligraphy. What they care about is what you write. Don’t you see that people always like to read the content when they see calligraphy exhibitions? ! What people appreciate is what you write.
If you always compose "Essays on Painting a Zen Room", "Hai Yue On Calligraphy" and the like, I am not making fun of calligraphers. Half of the members of the Chinese Calligraphy Association will not be able to read them, so what's the use? ah? You will say, "I am good at writing and ink." However, very few of the 1.5 billion people understand calligraphy and pen and ink. Mao Zedong said more than once that "literature and art serve the workers, peasants and soldiers."
If you can only write, you are not even a book slave. If you don’t pay attention to the content of your writing, you are at best a deeply narcissistic patient who writes calligraphy for your own entertainment. .
Why do the calligraphers who travel around the world often sneak into Diaoyutai? They rely on their calligraphy skills. Calligraphers, on the other hand, write so well, but they just ignore the content of their works. If you don't even pay attention to the written content of a calligraphy work, I think you can only copy the calligraphy, and you are not a calligrapher.
Third: You must be able to write large-character running script and cursive script
Now, I don’t know whether it’s because “pen and ink have changed with the times” or because of the National Exhibition. The two kings have resurrected. As a result, now Most of the calligraphers mainly use small characters, or they all write cursive script.
However, today’s calligraphers are very single-minded and only know one style of calligraphy.
As a real calligrapher, you have to get out of the study room...
The various fonts of Japanese characters are the best to write them
< p> Go to Baidu to find a calligraphy dictionary. There are many fonts in it.Detailed explanation of the format of calligraphy works
⒈Doufang is a style of Chinese calligraphy and painting. Shaped in a square shape. Usually four-foot rice paper is cut into two pieces, two feet high and two feet wide. You can also cut the four-foot rice paper into eight pieces, which is called "xiaopin doufang" or "doufang Xiaopin". Doufang is a work of squares written in vertical lines.
The written content is generally four to six lines. Because there are many rows and columns, the layout of the chapter should place great emphasis on the size, opening and closing, echo and rhythm changes of the upper, lower, left and right sides. When creating, pay attention to the primary and secondary relationship between the main text and the inscription. The inscription is generally smaller than the main text and should be natural and vivid. The top and bottom should not be flush with the main text. The seal should be smaller than the character and should be separated by more than one character. ⒉A style of three-open Chinese calligraphy and painting. Rectangular in shape, varying sizes. If four feet of rice paper is cut into three parts, it is called four feet and three parts. If five-foot rice paper is cut into three parts, it is called five-foot three-part. By analogy, the same three-foot-long painting has different sizes. A four-foot three-foot painting is generally a three-foot screen (actually it is two feet seven inches, one-third of the eight-square-foot market). Five feet three squares is one-third of twelve square feet, and the area of ??each square is four feet. 3. The nave is a rectangular work with vertical writing. The size is generally a piece of rice paper (divided into four feet, five feet, six feet, eight feet, etc., of which the small nave is 68CM×45CM). Because the size is relatively large, it requires the creator to have sophisticated techniques and the ability to grasp the overall layout of the work. When creating, pay attention to the primary and secondary relationship between the text and the signature, so that they are differentiated and shine accordingly. Don't be too pretentious when signing your signature. The signature can be written below the last line of text, and there should be room for layout. The bottom of the paragraph is generally not flush with the main text to avoid rigidity in form. You can also occupy another line or several lines after the main text. The top and bottom should not be flush with the main text. The seal should be smaller than the inscription, and the seal should generally be placed one character or more away from the inscription, either below the inscription or to the left of the inscription. 4. Banners are long pieces of writing written in vertical lines. The size is generally one piece of rice paper cut into half. When arranging the composition, you should be able to carefully conceive according to the characteristics of the book style and have a new idea. When creating, pay attention to the primary and secondary relationship between the text and the signature. The signature should be well-proportioned, natural and vivid. There are two common formats for banners: ① Written in two lines or three lines. Two line format. The left and right lines are written against the left and right sides of the paper, leaving more white space in the middle. Pay attention to the rhythm of the upper and lower characters and the echo between the two lines. The signature is usually written at the end of the second line, and the position should be slightly higher than the last word of the first line. The wording can be written in one or two lines. For the three-line format, attention should be paid to the interrelationship between the three lines, interspersed with shadows and rhythm changes. The signature can be placed at the bottom of the last line, slightly higher than the first and second lines of the main text; you can also write a separate paragraph, which should be shorter than the main text, and should not be parallel to the main text. ②Write one line (less number of words) in the center. The written content is usually a motto, aphorism or a poem. The number of words is small. When writing, you should pay attention to the opening and closing of the words and the changes in rhythm to make it vivid. The signature can be divided into single style and double style. The single paragraph is usually written in the middle position on the left side. The content of the inscription includes the writing time and the author's name, or just the author's name or number. The seals should be placed below the inscriptions, generally on two sides, and there should be an appropriate distance between the seals. When writing a double paragraph, the first paragraph is written on the upper middle part of the right side of the work. Generally, the time when the work was created is written. If the work is donated, the name or number, title, Yazheng, Huicun, Qingshang of the recipient must be written. etc words. 5. Couplets, also known as couplets. It is divided into upper and lower couplets, the one on the right is the upper couplet and the one on the left is the lower couplet. The size of the upper and lower couplets can be the same as the banner, larger or smaller than the banner. The writing content of couplets is extremely strict. They can only be antithetical sentences (the upper and lower couplets have an equal number of words, are opposite each other, and ordinary words do not appear repeatedly), including couplets (commonly known as couplets) and the middle two couplets in rhymed poetry (jaw couplets and neck couplets). . Commonly used couplets include five or seven characters, and some may have as few as three characters per couplet, as many as several crosses, or as many as hundreds of characters per couplet. Rhymed poetry is divided into two types: five-character and seven-character. When arranging the composition of five-character and seven-character couplets, the upper and lower couplets should be written vertically in the center on a single line. Dual sentences with a cross or above should be written in two or more lines (pay attention to the order of writing, from right to left in the upper couplet and from left to right in the second couplet. Double paragraphs should be placed at the end of the upper and lower couplets respectively, and the paragraph characters should be slightly higher than bottom of text). The positions of the upper and lower couplets should generally be basically parallel. Handle the changes in the size and expansion of the upper and lower characters within a couplet, as well as the echo between the upper and lower couplets, so that the upper and lower couplets become a whole. The inscriptions of couplets below the cross are divided into upper and lower styles and single styles. The upper paragraph is written on the right side of the upper line, and the lower paragraph is written on the left side of the second line. The first paragraph generally writes the author of the poem, the title of the poem, etc. For example, the lower paragraph of "Huang Tingjian's Poems on Deng Kuaige" writes the name and number of the author, as well as the writing place, time and other contents. For example, "Bingzi Xiantang Shu in Beijing" if given as a gift...
Oracle, official script, bronze inscription, running script, cursive script with Zhang characters
Zhang characters
What are the steps for writing calligraphy works? Simple
Format and organization Format and organization are indispensable and important factors in the process of calligraphy creation, and are the key to whether the work has visual impact. After a long historical development of format and composition, a relatively pure awareness of appreciation appeared for the first time in the middle and late Ming Dynasty. It was gradually put forward based on the process of practicality, elegance and appreciation of calligraphy (hand scrolls of the Song Dynasty are a typical reflection of it) and appreciation. of. The calligraphy format is related to the style of writing and is limited by the shape of the carrier. It has been fixed before actual creation. The rules are related to the format, but they are not equal to the format. A certain format is written by different people in different calligraphy styles, and the methods expressed will be different. The composition is usually determined before creation, but often undergoes dynamic changes unconsciously during the fleeting movement.
1. The format of calligraphy works
Format, also called product style or width style, is the specification of calligraphy length.
The formats of calligraphy works can be roughly divided into four categories: scroll, scroll, volume, and sheet, including the following types:
(1) Banner
Banner refers to the rectangular format Works with a large disparity between length and width are also called straight scrolls or vertical scrolls. The rice paper is usually cut in half vertically or into long strips, and then framed to become a "vertical scroll".
(2) Screen strips
Screen strips generally cut the rice paper vertically, and write line by line from top to bottom, from right to left. In addition to a single frame, multiple screen strips can also be arranged in an even number and merged into one work, but the fonts need to be unified and completed in one go. There are also multiple screen strips whose contents are independent, but the fonts and styles need to be unified. There are also multiple screens that combine calligraphy and painting to complement each other. Common ones include: four, six, and eight paintings, and there may be as many as ten or twelve paintings.
(3) Couplets
Couplets are a special format formed by writing China’s unique couplet style. It is widely used in the writing of Spring Festival couplets and on the courtyard pillars of traditional buildings, as well as on both sides of the nave painting. The right is the upper line and the left is the lower line. The characters are musically balanced, and the left and right sides should have a sense of echo when writing. If there are long couplets with a large number of words, they can be written in separate lines, with the upper couplet arranged from right to left and the second couplet arranged from left to right. This type of long couplet is called a gantry pair.
(4) Horizontal draping
Horizontal draping refers to banner works, which are long horizontally and short vertically. In this format, you can write a few numbers and write one line from right to left, or you can write straight horizontally to form a long multi-line script. Large ones can be used for hanging on buildings and halls and conference rooms, while smaller ones can be used for decoration in studios and residences.
(5) Nave
It is named after it is hung in the center of the hall. The width and length ratio of the nave is generally one to two. Common ones are written on a whole piece of rice paper, such as four feet, five feet, six feet, etc. The content can be a long poem or short article, or just a few big characters, or even just one big character.
(6) Doufang
Doufang can be regarded as a special form of the nave. Its length and width are equal. It can be hung independently like a framed nave, or it can be Made into a square mirror and embedded in the frame.
(7) Plaques
Most of them are hung on pavilions, halls and rooms. Generally, the fonts on plaques are mostly regular script, official script and running script, and there are also simple seal scripts. The characters are small but large, rigorous in structure, well-proportioned in density, majestic and solemn. Hang independently or paired with couplets.
(8) Handscroll
It is a format with long left and right expansion in calligraphy works, because its length is much greater than its width, and the length is too long to hang, so it can only be used It can be unfolded, admired and rolled up at the same time, hence the name, also called "long roll". Most of its contents are a complete article or a poem (group of poems). The short hand scrolls are three or four meters in length, while the long ones can reach more than ten meters. The width is generally between thirty and fifty centimeters. There is an "inscription" outside the beginning of the volume, an "inscription" at the beginning of the volume, and an "inscription and postscript" at the end.
(9) Album pages
It is a small-sized calligraphy work bound into a volume, ranging from octavo, twelfth, and sixteenth, and the length of the work also varies. Generally It is folded, and each page can exist independently, or you can write multiple poems like a long scroll, like the Yangtze River, which flows thousands of miles away, leaving nothing behind. The album pages can be combined with calligraphy and painting. Most album pages are used for the creations of different authors. Because they are easy to carry, they are often an ideal format for calligraphers to create inscriptions.
(10) Fan surface
Fan surface refers to works written in the shape of a fan. There are two types of fan shapes: one is a round fan that is close to an ellipse or a round fan. It should be full and full when writing, or you can take a square from a circle and use a square to compose the picture. One is the folding fan style. When writing in this format, the lines are divided by creases, radiating from the center of the circle, wide at the top and narrow at the bottom, large on the outside and small on the inside. The layout is not uniform. You can arrange the layout with long and short row intervals, which is suitable for the fan-shaped arc pattern. You must pay attention not to be too dense, which will make it full; not too loose, which will make it scattered.
This kind of style...