In the whole process of calligraphy, if you want to pursue vividness, want to pursue brilliance, and hope that the works have a point of view and a little taste, then, we must focus on the shape of calligraphy space, the division of calligraphy space, and the relationship between calligraphy space, and work hard under the premise of inheriting predecessors to explore how to create "words" in works.
1, the knot shape should know how to create "words".
Only when there is a word of "word" can there be vitality and something to see. What is "word"? It is the spatial relationship inside the word, and the "word (blank)" is the result of the strengthening and density of the word. Including retracting, size, length, width and narrowness, back, etc., these relationships are the elements of the "word".
The knot is an unsteady combination of calligraphic elements, that is, to create a "word" movement. The "Holy Order" is the master of structural modeling, the "strange plot" in "strategy", and the "dangerous" in "pingzheng". Every word in it has a "word". Just like the article has "literary eyes", playing Go has "chess eyes", which is wonderful and life-and-death.
After understanding the "Sacred Order", and then studying the classics of the past, such as Yan Zhenqing (sacrifice of nephew manuscripts, contending for seats), bada shanren's grass works, etc., you will find the basic principle of Chinese calligraphy structure modeling, master this principle, the change of Chinese character structure shape, will touch the bypass, will be with the meaning of the text, the expression of the emotion, to shape, create danger, endless.
Therefore, writing must know how to "create eyes", that is, to create contradictions, and then coordinate contradictions, such words, in order to have vitality and points of view. Writing is the same as being a person, you must be able to be a person, but also to be a ghost. Just like the operation of society, it is necessary to create demand, remanufacture supply, and finally balance the two in order to be harmonious.
2. The layout of the plot must know how to create "words".
Only works with "words" can have brilliance and taste. This part is so sparse, that part is so dense, and the big space set off by the two is "words". There is no "word" throughout the text, there is no big break in the whole situation, there is no big blank space in the whole article, and the whole article is bland and has a sense of congestion, and there is no magic.
Denseness determines the division of space within, between words and between lines, which is generally arranged at the "golden section" of one-third or two-thirds of the entire work, and the denseness and the space formed by the denseness are one of the important means of expression of calligraphy, and one of the important means of dealing with rhythm and chapter (especially in cursive). But in general, the "words" between the lines, do not arrange too much, more will not become "words".
The presence or absence of spatial consciousness is an important symbol of distinguishing between those who specialize in calligraphy and those who specialize in calligraphy. The process of calligraphy, what is the most important - the relationship is the most important, the relationship between words and words, must be handled well. The quality of "eye-making" is one of the important criteria for measuring calligraphy works and taste.
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