How is XiaoKai laid out?

When writing small letters, because each word is constrained in the same size frame, it is also the easiest to constrain a person's creative spirituality.

A good small work, the internal structure of each word has bones, tendons, blood, flesh, spirit, and meaning.

How do you visualize this? Knowing how to make a plan, the overall layout is quite important.

▲ Don · The Spirit Flying Sutra

There are rows in length and columns in width

This layout is suitable for content with a large number of words and must be completed within a certain size, and through calculation, the number of words can be grasped.

The grid of Xiao Kai should be slightly flattened, so that its word spacing is tighter, the line spacing is slightly open, and the natural layout of the whole passage is neat and symmetrical, and there is the beauty of artificial storage.

▲ Three Kingdoms · Zhong Xuan 《Declaration Table》

There are two things to note when writing this chapter:

1. Within each grid, there is a small world, and in this small world there is also a small chapter, and the arrangement of glyphs in this space should be very appropriate and just right.

Neither too big, standing on top of the sky, filling the left and right, nor too small, the heavens and the earth are empty, and the left and right are empty.

If there is too little white space, the rules are tight, and if there is too much white space, the layout is evacuated.

And should be the size of the symmetrical, up and down left and right, Mu Mu xiang is good, writing small letters to drop the pen first to see the position of the first stroke, this pen is wrong, then the whole is out of place, can not be saved, to master this method is not an easy task, not more writing more copying, rare this wonderful.

2. Note that each word is constrained within the same size of the space.

Therefore, avoid the structure of the flat, the size of the same, but should try to through the size, length, width and narrowness, odd positive, dense, opening and closing, stretching and other changes, each as far as the natural posture of the word, and strive to seek level in the jagged, in the staggered to seek symmetry.

In this way, the shortcomings of such a rule can be compensated.

Therefore, when writing this kind of chapter, the focus should be on the structure of each word, and strive to make its glyph full of natural posture, then there is a mysterious change in the pingzheng access.

There are rows in length and columns in traverse

This kind of chapter method is most used in small letters. This layout, because it breaks the shackles of horizontal grids, is more flexible in form than the previous chapter.

There are rows without columns, especially to pay attention to the jagged changes in a row, then there are staggered between rows, and there is a body of its own.

Although this change is not as strong as that of the grass, it should also be changed in jagged changes to maximize the beauty of nature.

This kind of chapter method also has a degree of law in the empty space in the middle of the line spacing. Generally speaking, the spacing is white, far and near should be even, naturally up and down, left and right are commensurate, but there are also tight word spacing, wide line spacing.

At the end of the Ming Dynasty, the Zodiac Zhou and Ni Yuanlu often liked to use this kind of chapter.

▲ Song · Zhang Jizhi 《王氏報本庵記》

There are also chapters with open word spacing and line spacing, such as Yang Ningshi, Zhang Jizhi, and Dong Qichangduxi using this method.

▲ Don · Yang Ningshi "Leek Sticker"

There are also chapters with tight word spacing and tight line spacing, such as Yan Zhenqing's "Small Character Magu Immortal Altar Record".

▲ Don · Yan Zhenqing《 "The Tale of the Immortal Altar of Magu"

In short, this kind of flexible layout, so that the secret is not close, the sparse is not far, the secret is flowing, lively and not dull, although the dense is still sparse, the so-called blank is less and the god is far away. The sparse gesture is wrapped, the circulation is not stagnant, although it is sparse and dense, the so-called blank space is also mysterious.

Only in this way can the effect of proper density be achieved.

There are no columns and no rows

This kind of chapter method completely breaks the restraint of the Wusi column, so it is easiest to exert a person's artistic personality, the most free and frank pen and ink interest, it is indiscriminately coveted in the ancient text of Jinjia, that is, the inscription text and the early Zhong Ding inscription, these engraved ancient characters, in the layout of the chapter or positive or oblique, large or small, sparse and dense, time and short, strange and vivid, jagged, such as the sky full of stars, out of nature.

This rule pays attention to three points:

1. The author should have a holistic view.

Take the unified text as a word, take the whole picture as one, emphasize the balance and symmetry of the whole, contrast and care and the unity of diversity, seek the balance and symmetry of the whole from the local imbalance and asymmetry, seek the coordination of the whole from various incongruous factors, and combine it into a harmonious whole from a variety of contradictory forms of opposites.

Therefore, when writing this kind of chapter, it is necessary to seek straightness in unevenness and symmetry from the staggered, which is a very advanced realm of the beauty of the calligraphy art form.

This realm is relaxed and relaxed, and the virtual reality is reflected, so that the work is more full of life rhythm in the space on paper.

2. Although this kind of chapter concentrates many contradictory and opposing factors, there must be an internal connection running through it.

This is a kind of momentum and force of the whirlwind, where a word, the word has a response, the line can reflect the belt, naturally all in one breath.

3. This kind of chapter, because it breaks the shackles of horizontal and vertical, has a relatively free world, but the sense of rhythm of writing small letters, dense and uneven, and ups and downs should not be too strong, but when it is called the main tone with modesty and uniformity, after the pen is written, it should follow its intentions, because of the situation, each of them will become its own magic, and those who cling to the law of death will damage the heavenly opportunity.

▲ Jin · Wang Xianzhi's "Thirteen Lines of Roselle Endowment"

Therefore, this kind of chapter, whether intentional or unintentional, is the most fascinating. Try to look at Wang Xianzhi's "Thirteen Lines of Luoshen Endowment", the layout of the whole text, the situation is staggered, the lines are dense, the wind is far away, and its chapters and methods are not too forced, the sparseness is not too empty, the increase cannot be increased, the subtraction cannot be achieved, such as Tiancheng casting, extremely cobbled together.

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