"Your words are scattered" is mostly boiled down to "structure" problems. The author believes that when studying structural problems, it is not only necessary to accumulate the knotted kung fu, but also to have a deep basic skill of drawing form expression.
Everyone knows the tenon process. Studying interspersed avoidance only at the structural level is like studying where we need "mortise" and where we need "卯", but we do not study what shape is needed for the "卯" corresponding to the "mortise" (or "mortise groove" is more vivid). The final result is that it is "unable to hold on", corresponding to the calligraphy is "structural dispersion". Examples are given below.
Let's first use the Tang Dynasty script to illustrate this problem:
The above two words are the two words in Liu Shaoshi's "Xuan Secret Pagoda" and "Divine Strategy Army" stele, and this ingenious fit in interspersing is unintentional? This must have been so carefully arranged that it became an instinct for writing.
Let's take a look at Yan Lugong's expression:
The above two words are the single words in the two tablets of Yan Lugong's "Duo Pagoda" and "Yan's Family Temple", and the effect of this arrangement of undertaking avoidance should be the existence of reason.
Further back, look at the epitaphs of the Northern Wei Dynasty:
This is a single word in the Imperial Epitaph of the Northern Wei Dynasty, and is the structural concession here also the meaning of "mortise" proposed by the author?
Some people will say that this may be deliberate, should not look very heavy, we have to admit that in the actual writing is indeed impossible to be so one-sided, tightly sewn, but this characteristic must have a reason, let's find some ink evidence:
Zhao Wuxing's "Bile Stele" can be said to be a particularly strong inkblot, and we can still clearly see the echo of the dot painting form that exists between this interspersing, which is not always carved!
Photo: Mr. Tian Yingzhang's gongbi letter "Qinyi"
Mr. Tian Yingzhang's Gongbi Script is the easiest to get started with, but we should also be aware of one of the lessons, that is, this method of Gongbi is not very effective in improving daily and rapid writing, such as student homework and students answering questions in the examination room.
Of course, we can also add practical hard pen writing methods to the beginning of the practice of calligraphy, and we can also better improve the positive effect of the brush writing practice method on daily writing.
Figure: An example analysis of the writing structure of the word Yong
Pictured: An example of the layout of the Gongbi Script
Due to the release of modern standard Chinese character form standards and writing standards, the aesthetic consciousness of Chinese calligraphy has undergone tremendous changes. In reality, the carrier of standardized Chinese characters is not handwritten but an electronic font library, and its "square characters", "well-proportioned strokes", and "horizontal and vertical" have become the three main points of the script.
Perhaps because of the constant viewing of electronic information in the head and down, the calligraphy of the printed style can always bring people a preference.
Figure: Italic structure rule 1 - Strokes are all called
The beauty of the structure of words does not lie in the existence of some kind of mandatory norm, but more in the orderly arrangement of things that people are accustomed to. In the process of stroke arrangement, the uniformity becomes the key factor of "pleasing the eye". In the above illustration, a variety of symmetrical relationships are constructed, so that the stroke layout gives people a better sense of hierarchy.
Pictured: The idea of "equal division" in the structure of the script
The law of homogeneity is the most practical law in the study of calligraphy structure, from the stroke layout to build a variety of equal layout of the plane form, our calligraphy "starting pen - line pen - closing pen" has a basis and rules. When the calligraphy is "evidence-based", our calligraphy has entered a stage of rapid growth.
Pictured: The idea of structural symmetry in the book
There are many ways to arrange calligraphy, and symmetrical layout is just one of the ideas. We can only conclude that symmetrical rules can write good words.
Pictured: Calligraphy strokes building a virtual "body part"
Mr. Tian Yingzhang's Gongbi Script pays more attention to the application and play of the rules of stroke uniformity, and this is also particularly successful. However, many of the same methods outside the body have become methods, especially in the creation of artistic calligraphy.
Figure: Italic structure method - node line rules
As another popular book style, the core idea of the structure of the Qi Gong body is not equally divided. The heaviest structural idea of the Qi Gong body lies in the application of the "golden section law". Moreover, qi gong body emphasizes "natural starting and closing the pen" in the brushwork, and the line pen pursues nature.
Pictured: The letter creates a sense of hierarchy by building clusters of strokes
Figure: The balance of the letter structure in both directions, horizontal and vertical
Calligraphy ability is actually a writing habit, and the use of mathematical methods in the layout of calligraphy structure has brought a new idea to the study of calligraphy, which allows us to summarize some of the writing methods that look beautiful. After these methods are habituated, the learning of calligraphy also has the ability to write naturally.
Figure: Italics are canonical characters, and the characteristics of chinese characters cannot be forgotten at any time
Calligraphy is a difficult calligraphy system in the calligraphy system, one of the reasons is that calligraphy learners in this period may have just started, and then both to learn the basic knowledge of calligraphy, but also to learn the stroke skills, not to mention to learn to understand the combination of calligraphy and strokes, less than at this stage of the calligraphy learners will feel the special difficulty of calligraphy.
However, with the accumulation of calligraphy practice, the penmanship skills have improved, and the structural layout method has also been experienced, and the feeling of calligraphy practice has become more and more relaxed.
Therefore, when learning calligraphy, we must pay attention to a problem, that is, to find the essence of this effect and its internal reasons, structural dispersion is not necessarily all structural problems, a large part of the seemingly structural problems are in the expression of the basic pointill painting form, so the practice of basic skills must be a first-class event in learning calligraphy.
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