Introduction to the new column
Jin Gongzi Pro "Jiucheng Palace Monument"
From the time I first came into contact with calligraphy when I was 10 years old, I have been writing for almost 30 years today. In those 30 years, I wrote the most in letters.
In the Famous Books of the Tang Dynasty such as Yan, Liu, Chu, and Ou that I have studied, the one that has worked the most is the Ouyang Inquiry Book. I wrote this "Jiucheng Palace Stele" for a total of 7 years before and after. Creating this column is an important combing and summary of my past study of Ouyang Inquiry.
I hope to take this opportunity to re-implement the little experience and experience accumulated over the years into the post of the "Jiucheng Palace Monument".
Through the generalization and explanation of the "Jiucheng Palace Monument" in this column, I would like to share a little bitter talk about writing this Tang Monument to my friends who like Ou Kai.
- Prince jin
One, giant
A calligrapher, when his art of calligraphy is at its maturity, will always show strong personality traits.
What is personality? Simply put, it is different from others. Therefore, if we want to accurately grasp the artistic personality of a calligrapher, it is still necessary to choose an appropriate object of comparison.
Studying Ouyang Inquiry, who should we compare his words with?
Speaking of this, I can't help but think back to the scene when I first came into contact with Ouyang Qing's calligraphy. In fact, I learned to study European books by chance—it was not in my study plan.
That summer vacation, I had planned to make a little effort to write through the "Sacred Order of the Wild Goose Pagoda" that I had not yet matured. I didn't think that when I packed up my things and left school to go home, I left the "Sacred Order of the Wild Goose Pagoda" behind.
When people arrived at home, they found that there were no writings to come by, so they had to go to the bookshelf to find a new post. He casually pulled out a volume of Prince Cheng's "Bamboo Branch Words", so he wrote it for two months.
Speaking of which, practicing word selection is a bit like falling in love: two people can't get together, sometimes it's really strange that people's girls are not good, but they don't have a temper with each other.
This is like my relationship with the Sacred Order of the Wild Goose Pagoda: Xue Chu is not as comfortable as I am studying Ou. But after all, Prince Cheng is only a master of learning Europe in the Qing Dynasty, and he still has to read the original texts! So after the summer vacation, I put down the "Bamboo Branch Words" and went to the "Emperor Fu's Birthday Monument".
Writing about Prince Cheng, I learned one thing: in the Qing Dynasty, many scholars of European calligraphy were also fans of Zhao Mengfu - Tian Yingzhang, one of the most famous European calligraphers today, was still learning from Europe and learning from Zhao, which shows the wide range of the school of Prince Cheng.
Then let's take Zhao Mengfu's words to make a reference for Ouyang Inquiry:
Zhao Mengfu wrote the word "giant", which looks very well-balanced and stable from the perspective of structural layout. Put it into a square grid, it can fill the upper and lower sides, but the strokes do not escape the rules - it is no wonder that in the old days, there were so many students who were working to meet Zhao Songxue's post.
Because the writing requirements of the examination paper are black, large, light, and round! But if we want to use this set of rules to scope Ouyang inquiry, I am afraid that it is not good to make:
Compared with Zhao Mengfu, the two strokes that were circled in the "giant" character of the "Jiucheng Palace Monument" must escape from the rules.
Why did Ouyang inquire about these two strokes? Strictly speaking, the stroke is not elongated, it looks long and visually contrasting.
That is to say, Ouyang Que actually deliberately compressed the length of other horizontal strokes in addition to the strokes. Therefore, the so-called length of the stroke actually shows that Ouyang Que wrote this "giant" character very thinly. The presence of strokes reinforces this skinny visual effect.
However, we cannot make a similar understanding of strokes. This stroke, Ouyang Inquiry should be deliberately to lengthen it, the purpose of elongation is to raise the center of gravity of the entire word.
It's like a model, who is already thin and has a high waistline, which of course gives people a straight sense of vision.
2. Deer
In addition to the thin and straight glyphs, another outstanding impression left on me by Ouyang Qianshu was the convergence of the pen. Let's compare the word "deer" written by Chu Suiliang and Ouyang Qian:
Compared with Ouyang Inquiry, it is not difficult to see that when Chu Suiliang wrote the word "deer", the press with the pen was much stronger. Except for the last one, the rest of the strokes are almost entirely written with a single stroke. Writing to the last brick, Chu Suiliang suddenly increased it to a three-point pen, so this brick appeared very eye-catching.
Unlike Chu Suiliang, Ouyang Que's mention of the word "deer" was much lighter, and the pen always floated up and down the pen, the contrast between the thickness and thickness of the lines was not very strong, and the last one was not deliberately emphasized.
On this point, friends who are new to calligraphy should pay special attention. Because in the training of basic strokes of calligraphy, "磔" is the most difficult stroke. Therefore, when you first learn to write, you will often focus your energy on writing a full, stretched foot.
However, if you write the "deer" character of the Jiucheng Palace Stele in this way, it is likely that the glyph will be closer to Chu Suiliang than to the appearance of Ouyang Qian. That would be a glimpse, not a whole leopard.
3. Counties
Pro-post, to what extent is it good? The ancients said that they had to compare their own works with the original works under the shadow of the sun, and they could re-shadow to be good.
Frankly, I don't believe that.
I was a kid who grew up in a bank compound. The vast majority of a bank's financial business requires a customer's autograph. If imitating someone else's handwriting can go to the point of ghosting, it means that the autograph cannot verify the identity of the individual, so what legal effect does the signature have?
In this sense, the "ghosting theory" is no longer a challenge to my artistic concept, but my common sense of life.
As far as the concept of art is concerned, the "ghosting theory" will also have a negative impact on our posting and creation.
This is because when the goal of the post is to pursue that every bit of the post can not be different from the original post, we will be forced to memorize the shape and position of each stroke by rote, and we will also strengthen this memory through countless times of posting exercises.
Once this training works, our writing state will tend to stiffen, the glyphs we write will be unchanged, and the immutable glyphs will attract the ridicule of "printed form".
This was by no means the attitude of Ouyang Que in writing the Jiucheng Palace Stele. There are also repetitive words in the inscription of "Jiucheng Palace", and Ouyang Que wrote it out as a word, and did not let them "re-shadow".
Moreover, although these words have different forms, which of them does not look like Ouyang Qian's "own son"?
Therefore, I think the task of the post should be to summarize its main features from the copy of the original post. Under the premise of grasping this feature, you may wish to leave yourself a little space for autonomy, so as not to stifle your emotional writing experience because of the details of the dead button and the dead back to dogma.
How to find the characteristics of the original post? Take the word "county" as an example. Let's compare the treatment of the word "county" in the "Emperor Fu's Birthday Monument" and the "Jiucheng Palace Monument":
The picture above is the word "county" in the "Emperor Fu's Birthday Monument". In general, the words of this left-right structure show the characteristics of putting left and closing right.
Specifically, it is that when Ouyang inquired about writing the sound symbol "Jun", he pulled a very long one, while the two "bao'er" of the righteous symbol "阝" were relatively convergent.
However, this pattern was completely subverted in the "Jiucheng Palace Monument". It changed the word "county" to a pattern of left and right. The sign is that the long apostrophe of the righteous symbol "Jun" has become a short apostrophe, while the two "bao'er" of the sound symbol "阝" are written more exaggeratedly.
4. Public
— THE END —
The text | Prince of Jin
Typography | cream belly
The picture | Jiucheng Palace Monument & Jin Gongzi Original