1. Xun
Copying a classic ancient Dharma, appreciating and understanding its artistic personality should be at the heart of all our work. The abstract artistic personality is often attached to some iconic pen method or structural form.
Therefore, finding these iconic strokes and structures will be the breakthrough for us to successfully enter this inscription.
So specific to this "xun" word, where should we choose to break through?
In order to find out, we may as well make two sets of comparisons.
In the first group, the zen master Zhiyong was used to compare it to Ouyang Yuan. His calligraphy and Ouyang Inquiry are actually flowers born from the trunk of Wang Xizhi.
It's just that although the two have the same origin, they have developed some personal characteristics in different directions.
In contrast to the "勑" they wrote, the difference between the two words focuses on the sound symbol "come". The second horizontal of Zhiyong Zen Master is relatively short, while Ouyang Que is written higher, so the visual effect is that Ouyang Que's emphasis is higher than that of Zhiyong.
European italics often give people the impression of hard and clean, among which the high center of gravity is a factor that cannot be ignored.
But conversely, it is not necessary to solve the problem of high center of gravity to necessarily show the above visual characteristics of Ou Kai. The following set of comparison charts illustrates this problem well:
The picture above, from left to right, is the "Great Character Yin Rune Sutra" written by Chu Suiliang, Yan Zhenqing's "Duo Pagoda Stele", and Ouyang Qian's "Jiucheng Palace Stele".
Let's pay attention to the sound mark "come" of the three words, the starting position of the second horizontal is actually almost the same, but Chu Shu and Yan Shu both write "丿" very long, while Ou Shu's "丿" is very short. What is the difference in visual effect between this long and short?
When the "Tsuki" stretches out very long, our eyes will move to the lower left with this stroke, and finally focus on the position circled in the lower left corner.
When "丿" is shorter, the main pen of the sound symbol "Come" will be adjusted to a vertical, and the focus of our line of sight will shift from the lower left corner to the position circled in the above image.
It is this adjustment of the focus of the line of sight, together with the elevation of the center of gravity, that constitutes the special visual impact of Ou Kai.
2. Author
From the perspective of structural characteristics, this "writing" word needs to be closed left and put to the right. Specifically, it is to hold the two strokes in the picture above and put the long strokes.
In addition, all the strokes of the horizontal movement of this word have a clear tendency to shoulder, and the final leveling of the center of gravity depends on the last point of the sound symbol "Sundan".
3. Dimension
To write this "dimensional" word, the first thing we must pay attention to is the stroke order of the sound symbol "隹". The correct stroke order should be:
To write "隹", you must not write the long "丿" first according to the stroke order of "亻", and then write the left "丨". The order of the "Falcon" is determined by its early seal shape, and its shape is as follows:
Compared with the calligraphic glyph in the previous picture, the two strokes are actually derived from the split of one stroke, so when writing, you can only write first and write later.
In this regard, the "Thousand Character Text" passed down to Ouyang Qian can also provide us with strong circumstantial evidence:
The reason why you should pay attention to the stroke order when writing is because the change of the stroke order brings about the difference between the turns, and the difference between the turns will cause the change of the strokes.
Therefore, practicing calligraphy and clarifying the stroke order should be a primary basic work, which cannot be ignored. It is impossible to practice the calligraphy of the glyphs and draw them according to the cat.
As for the characteristics of this "dimensional" word, I would like to compare it with the original with a word that I am about to lose:
Compared with Hara Tuo, the word I wrote about before, there is a clear gap in the middle palace position of the sound symbol "Falcon", and this is the big taboo of Ou Kai's knot.
Ouyang Inquiry's knot will often tighten the Middle Palace, specific to this word, in order to achieve this effect of tightening the Middle Palace, it is necessary to move the left vertical of the "Falcon" to the position of the red dotted line logo in the above figure.
The changed glyph becomes the following:
Fourth, chastity
Ouyang's letters are often called "dangerous". My personal understanding is that one of the manifestations of "dangerous and desperate" is that Ouyang Que's words are often inclinated.
We only need to compare the above left-leaning "zhen" with the correct word naturally and clearly:
However, one thing that needs to be explained is that the vast majority of this inverted glyph in Ouyang Que's works is tilted to the left, which makes me suspect that this special structural layout may be related to Ouyang Que's usual sitting posture or writing posture, but speculation about this point, I have not found any evidence in the literature at present.
— THE END —
The text | Prince of Jin
Typography | cream belly
The picture | Jiucheng Palace Monument & Jin Gongzi Original