1. The contrasting relationship in calligraphy exists in any art form, and it is especially evident in the art of calligraphy. In the Ming Dynasty Xie Jin's "Spring Rain Miscellaneous - On The Study of Calligraphy", the contrasting relationship is described from the perspective of knots and chapters:
"The upper word is to the lower word, the left line is to the right line, the horizontal slope is dense, each has its own trick, the upper and lower lines are continuous, the left and right are sounded, and the eight sides are square, like a layout: they are all in a hurry, fighting chaos but not chaotic, chaotic, circled and indestructible."
The various contrasting relationships in the art of calligraphy can be summarized as: the square circle, hidden dew, thickness and straight curve of the dot painting; the size, positive side, width and narrowness of the knot, and the back; the thickness, wetness, dryness, and weight of the ink color; the denseness, staggering, opening and closing of the chapters, the virtual reality, the speed and slowness of the rhythm, the astringency, the repatriation, and the release. When these contrasting and changing elements are embodied in a calligraphic work under the principle of a sense of balance, we will feel the beauty. On the contrary, those "printed bodies" that are horizontal and vertical, equal in size, like operators, and have no change, can only be called writing, or fine art characters, and do not have the beauty of calligraphy art.
2. The balance in calligraphy is related to the balance in the art of calligraphy, one is uniformity and equilibrium in the narrow sense. Homogeneous is centered on the axis, and the left and right shapes are roughly the same. Equilibrium is an example of two or most parts on the left and right having roughly equal components, uniform shapes, and equilibrium, and is extremely common in seal books. Some of the knots in the seal book unfold to the left and right in exactly the same form according to the center. However, in the script, some changes appear on the left and right through the pen. In cursive writing, change is more abundant, and avoiding monotony becomes an eternal law. Another broad sense of calligraphic balance is the reconciliation of "danger". Sun Guoting's "Book Genealogy" says:
"Beginners learn to distribute, but seek peace and integrity, both know the peace and integrity, and pursue danger, both can be dangerous, and return to peace and integrity."
For example, the sway of the line is inseparable from the tilt of the knot, but the tilt of the knot is not the ultimate goal, and the ultimate goal is to "return to normalcy" after the dangerous treatment.
The tilt of the knot begins with the tilt of the dot painting, and when we deliberately change the line to a diagonal line, it creates unexpected miracles. When we deliberately deform a structure perpendicular to the horizontal level, what is created at this moment is a sense of depth. Through the desperate harmony, two or more parts are both opposed and complementary to each other, similar to the harmony in music, thus producing a harmonious beauty.
Hu Kangmei, an advisor to the China Book Association and a famous calligrapher, believes that making good use of "contrast" and "balance" in creation is a true "master" of calligraphy. What do you netizens think? Welcome to leave a message to communicate.
Dong Qichang: The calligraphy of the ancients took the chapter law as a major event; Hu Kangmei: The arrangement of the chapter law is easy to produce the color of the chapter method is one of the important factors in the composition of calligraphy, and the study of the chapter law has always emerged in an endless stream. Dong Qichang, a great calligrapher of the Ming Dynasty, put forward in his "Essay on painting the Zen Room": "The ancients discussed books, and the chapter law was a major event. "It fully illustrates the importance of the chapter method in the composition of calligraphy." Hu Kangmei, a famous contemporary calligrapher and former vice chairman of the Chinese Calligraphy Association, has been committed to the study of calligraphy form aesthetics, and he believes that the development of calligraphy art to today, the reform of chapter law has the most sense of the times. Because in the current calligraphy works the order of expression is from macro to micro. The first is the composition of pen and ink and blank space, then the composition of rows and rows, the composition of groups and groups, and then the composition of knots and stippling. The art of calligraphy has changed from text to schema, from reading to viewing.
Hu Kangmei's analysis of the rules continues the previous research on the shape of the dot painting and the shape of the knot, and further enriches the modeling of the group, the shape of the line, the shape of the area and other aspects. He believes that calligraphy lovers should not ponder, from the "group shape, line shape, regional shape" to arrange, calligraphy chapters are more likely to shine. 1, the group of modeling methods is to reduce the spacing of words, the upper and lower words are connected into a piece, so the form of the group is formed; to flat shape it is to reduce the line spacing, the left and right words are connected into a piece, so that the flat or block form is formed. Depending on the combination of word spacing and line spacing or sparse or dense adjustment, a variety of groups and blocks can be manufactured, and thus regulate the local morphology and interrelationships of the chapter.
2, the shape of the line
The first is the length change. A line is a combination of words and groups, within a line, you can form a word independently, or you can combine two words, three words or more words into a group. Contrasts are created through jagged staggers between groups, giving the interior space of the row a rich sense of rhythm. The second is the size of the positive side change. The shape of the row should be vivid, and the organic change between the knot and the knot is important. The sizes are compatible, the positive sides are proportionate, and everything is coordinated in contrast and change.
The third is the change of rhythm. The rhythm of the line changes, which are obviously manifested in the speed and ink color, the weight of the speed and the thickness of the ink color, dryness and wetness give people a different feeling for the vision. Finally, there is the change in the edge profile of the line. It is determined by the size, retraction and other spatial relationships between the knot body and the knot body in the row, the size of the knot is consistent, the left and right are flush, and the edge outline of the line tends to be neat and lacks change; the size of the knot is staggered, left and right, and the edge outline of the line is uneven and undulating, and the ups and downs are born.
3, regional modeling This is a new combination of methods, but also brings out a new modeling unit in the work of the up and down left and right distributed a lot of modeling elements, of which, by the font, size or ink color and other roughly the same number of words composed of the modeling unit, because they are a cluster, scattered in various positions, so called regional modeling.
In order to create a contrast between regional shapes, there must be a variety of shapes such as size, square circle, length and so on, so it will also produce a variety of expressiveness. Roughly speaking, there are pointed, square and round, different shapes give people different visual feelings, the sharper the angle, the stronger the impact, the more intense the emotional performance, the more blunt the angle, the closer to the circle, the weaker the impact, the milder the emotional performance.