Yan Zhenqing's "Twelve Meanings of Zhang Changshi's Brushwork", in the previous lecture, we talked about the first six meanings of the "Twelve Meanings": flat, straight, average, dense, sharp, and force. Judging from the comments and messages, netizens have gained something. The following continues to talk about the remaining six meanings: turn, secondary, make-up, loss, qiao, and weighing, that is, what "brushwork" did Zhang Xu teach to Yan Zhenqing (part 2)?
Tips: This article is about 2500 words, it is recommended that netizens who are interested in learning calligraphy read it carefully, those who have no interest, when I did not say.
<h1 class="pgc-h-decimal" data-index="01" data-track="3" ></h1>
"Turning lightly means 'bending', what does the son know?" "Isn't it true that the angle of the hook pen is light, and the folding edge is light, or the corner is darker?" "Yes."
The original post is missing the word "Qu" only "corpse", some people think it is "exhibition", and some people directly interpret it as "Qu", Liangwu Emperor Xiao Yan's "Guan Zhong Shu Calligraphy Twelve Meanings": "Lightly referred to as Qu Ye," Mr. Shen Yinmo believes that the meaning of qu here is the same.
Zhang Xu said that light is the essence of the turning point, do you know? Yan Zhenqing said, are you talking about the bending edge at the corner of the stroke, and the corner is dark? Zhang Xu said, yes.
At the corner of the stroke, the tip of the pen must be from left to right, after which the tip of the pen is slightly back to the left, and then fold the pen downward. Conversely, if you write down, there is no power in the corner. Light and dark, meaning that the tip of the pen is hidden in the stroke at the corner. On the other hand, revealing the fox's tail outside the stroke is not good-looking. Song Jiang Kui's "Continuation Of the Book": "I don't want to show more sharpness, but Lu doesn't mean to hold on to it." That's what it means.
See the real chapter in the details. The corners are light and dark, and deliberately depicting or sweeping through them is not the right way to learn calligraphy. Calligraphy lovers tend to ignore this, always thinking that what is written in the poster, they will write what they are like, never exploring why it is written and how it is written. I once met a person in Shaoxing, and the "Jiwang Saint Order" resembled the original post, but when he left the writing post to create, he was finished, and he didn't know where to start.
<h1 class="pgc-h-decimal" data-index="02" data-track="9" > times</h1>
"The second is to be involved, the son knows?" "Isn't it said that it is a restraint, a second-minded setback, so that it is not timid, and that it is dangerous to become a threat?" "Yes"
"Times" is not an antecedent, which means the thread between the stroke and the stroke, and can play a role in the leading of the main and subordinate pens. "Frustrated front" folding also means to turn from one angle of the pen to another angle, and the thread is a product of this process.
Zhang Xu said that the strokes and strokes are mutually restrained, do you know? Yan Zhenqing said, are you talking about pulling the wire with a setback, so that it does not drag mud and water, and reaches a precipitous state? Zhang Xu said, yes.
Some people say that "sub" is "decision" and "pulling" is an apostrophe, but in fact, it can also be explained: that is, the starting brush of the apostrophe is introduced from the end of the previous stroke, and the stroke is left out after folding. In the original post, it was "次", so we will only explain it once.
We have not seen ancient calligraphers writing, but we can see the works they left behind, from which it is not difficult to find that there is a curved dotted line between the previous stroke and the next stroke in one word, the previous stroke leads the next stroke, the next stroke is written continuously, and the eyes see that the pen is broken, and the meaning is still connected. Today's canonical calligraphers also write this way, and although I am not very serious, I also follow this method.
<h1 class="pgc-h-decimal" data-index="03" data-track="15" > complement</h1>
"Insufficient supplementation, son knows?" "Isn't it true that if you are not a pointillist or a person who is bored with structure, then save it by other pointillists?" "Yes." ”
Zhang Xu said that the deficiency needs to be remedied, do you know? Yan Zhenqing said, are you talking about the lack of structure and dot painting, and should be remedied with other dot paintings or partialities? Zhang Xu said, yes.
Creation needs to be intentional, but there are often unexpected things in the process. For example, if you write about the word "le", you think about the last two points when you write down, but when you write it, you find that writing two points will be inconsistent with the next word to be written. This is unexpected, and it is also what Yan Zhenqing said about "structure pointillists or people who are bored".
What to do? Borrow another dot painting. Write the two points of "music" into an upper arch of the horizontal, the vertical hook is written directly from the left down the pen, the pen barrel is flipped upwards, the pen millimeter passes through the vertical, the wrist returns to the chest, and the pen milli line to the lower right to turn or fold the pen to connect the next word. Or the left point is still a point, the right point is written as a long apostrophe or vertical, the long apostrophe can be directly connected to the first stroke of the next word, and the vertical can be shared with the next word. These methods are more common in cursive writing, and they are also yan Zhenqing's saying of "saving by painting with other dots".
"Complement" must not be used as a "depiction". Complement is replaced by other strokes, drawing is to repeat the original strokes, a save word, a destroyed word, the old people often say "the word is a black dog, the more depicted the uglier", this is the truth.
<h1 class="pgc-h-decimal" data-index="04" data-track="21" > loss</h1>
"There is more than enough damage, and the son knows it?" "Isn't it true that the so-called long and short strokes of the long history are not enough to taste the mood?" "Yes."
Zhang Xu said that there is more to be reduced, you know? Yan Zhenqing said, is it not that you often say that dot painting is short and interesting, and that dot painting is insufficient to make it more than enough? Zhang Xu said, yes.
When I read this, I thought of the Tao Te Ching: "If there is a surplus of loss and a lack of worship, the more will be distributed to the insufficient." There is room for self-reduction, but sometimes the pen has fallen into the paper into a painting, the wood has become a boat, and it can no longer be reduced, what to do? You need to think of a glyph before you write, and the stroke length is appropriate. The words of Zhong Xuan and Wang Xizhi are the standard, long and short, long does not make people feel long, short does not make people feel short.
How to distinguish between "surplus" and "insufficient"? I want to say I don't know, it seems that I am not level, I want to say I know, but the reality is that I just don't know. Mr. Shen Yinmo explained this: "It is not in the tangible shortness and length, but in the lack of meaning. The one who should lose must be an empty and long shape, and the appropriate damage is a short painting of intention. "As for how to make the short painting interesting, Sir just said that he needs to practice hard." Sir didn't explain it clearly, let alone me.
Today's calligraphers are mostly short and long. The original short stroke is shorter, and the original long stroke is longer, which has the meaning of "damage is not enough to be more than enough". Some vertically occupy the position of three or four characters, and some simply occupy a line, and appear frequently in a work, which is inconsistent with "more than enough damage", or contrary to the way.
<h1 class="pgc-h-decimal" data-index="05" data-track="27" ></h1>
"Coincidence, the arrangement, the son knows?" "Don't you want the book to anticipate the arrangement of the glyphs to make it stable, or to accidentally generate a body, so that there is a strange situation?" "Yes."
Zhang Xu said that it needs to be pre-arranged, you know? Yan Zhenqing said that before writing, do you think of a glyph to arrange it to make it stable, or do you produce an unexpected font in your writing, which makes it different from stable? Zhang Xu said, yes.
There are two stages in the arrangement, one is expected before the pen is written, and the other is unexpected after the pen is written. Always within the expected, controllable is stable; always unexpected, uncontrollable is exaggerated. Smooth will be dull, and exaggeration will lose its legality. "Clever arrangement" actually means that it must be both expected and unexpected.
The arrangement is not a deliberate arrangement, not up and down, left and right, long and short, thick and thin, and the size of the fat and thin are the same. Ming Dynasty Dong Qichang's "Painting Zen Room Essay": "The arrangement is not properly balanced, when the length is intricate, it is also dense. That's exactly what he said.
<h1 class="pgc-h-decimal" data-index="06" data-track="32" ></h1>
"The size of the title, the child knows?" "Isn't it true that the big characters promote the order to be small, and the small character exhibition is large, and the order is dense?" "Yes."
"Weighing" is commensurate; the direction of "promoting" is small; the direction of "exhibition" is large. Zhang Xu said that the words in the work should be commensurate with the size, do you know? Yan Zhenqing said, is it not that the big characters are written to the small, and the small characters are written to the larger ones, so that they complement each other? Zhang Xu said, yes.
To write a work, think about the size of the glyph in advance, and make the whole commensurate when writing. The so-called big characters refer to words with many strokes, and small characters are words with few strokes. Yan Zhenqing said that the large characters to lowercase and the small characters to the uppercase are relatively speaking; the promotion and exhibition are also relative to the work as a whole, rather than the equal size and position. "Painting Zen Room Essay": "The most taboo person in writing books is in a uniform position." "It's against equality.
The words with more strokes are compact, and the words with few strokes are written loosely, which is "dense and dense". Jiang Kui's "Genealogy of Continuations": "I don't want to go up and down, I don't want to be left high and right to be low, and I don't want to be more before and after." "That's the same thing. And if you want to write the overall size of the match, there is no other way but large compactness and small sparseness.
"Title size" is under the premise of "clever pretense arrangement", that is, because there is a front intention to write first, so there will be a later commensurate.
At this point, the "twelve meanings" of flatness, straightness, uniformity, density, front, force, turn, secondary, supplementary, lossy, skillful, and weighed are all finished. You think this is the end? No, there is a more wonderful "with the pen should know like cone painting sand, such as printing mud", let's look forward to it together.