1. Pro "Ritual Tablet"
During the Warring States Period and the Qin and Han dynasties, people added various decorative patterns of dragons, phoenixes, insects and fish to the lines of uniform thickness, resulting in an art character called "Bird and Insect Book". In the Eastern Han Dynasty, people melted this pattern into the strokes, and wrote it with one stroke, turning it into a horizontal painting of the silkworm head and goose tail and the wavy picking method of skimming, so there was a book, which was a very decorative font.
The main feature of the book is to take the horizontal trend, and there are three ways to express the horizontal trend: one is that the horizontal drawing is stretched, ups and downs, and there are waves; the second is that the knot is slightly flattened; and the third is to reduce the line spacing in the chapter, so that the left and right characters are closer together, and the feeling is connected. There is no turning point in the book, and the pen should be broken and broken, otherwise, there will be a regular script to write in a row.
The strokes of the "Ritual Tablet" are clear and vigorous, the waves are pressed and picked quickly, the silkworm head and the tail of the goose are more exaggerated, the thickness changes are more obvious, the rhythm of the pen is very strong, the style is similar to the Tang Dynasty Chu Sui Liangkaishu "The Holy Order of the Wild Goose Pagoda", and it can refer to the Xi of copying.
2, Pro "Ode to the Western Narrows"
The lines of "Ode to the Western Narrows" are thick and heavy, and two points should be paid attention to when copying: one is round, the brush tip should not be sideways, try to walk in the middle of the stroke; Thick lines are easy to be dull and sluggish, to avoid this kind of problem, the pen and the pen sometimes have to show some edge.
Appropriate Lu Feng can express dexterity and charm in the form of dot painting, the momentum of movement in the knots, and the casual and unrestrained creative mentality. The body of the Ode to the Western Narrow is broad, and when copying, the dot painting should be propped up around the glyph as much as possible, leaving a blank space in the middle.
The broad and square glyphs lack the relationship between yin and yang to the back, interspersed and avoided, and the echo connection is not enough, so the word spacing and line spacing must be smaller and tighter, otherwise it is easy to scatter. The style of "Ode to the Western Narrows" is similar to that of Yan Zhenqing's regular script "Li Xuanjing Tablet" in the Tang Dynasty, and it can be referred to the Xi of copying.
3, Pro "Stone Gate Inscription"
Traditional calligraphy is divided into two types: posting and stele learning, and their brushwork methods and dot painting forms are very different. In the method of moving the pen, the post study is biased towards mentioning, and the stele is biased towards pressing; the post study emphasizes smoothness, and the stele emphasizes the reverse astringency. In the form of dot painting, the stele is biased towards the two ends of the line, the press is frustrated, the loop is reciprocated, and the middle section is quickly swept by, so it appears light and vigorous;
The dot painting of "Stone Gate Ming" is round and vast, and there are two points to pay attention to when copying the fortune pen, one is to tilt the pen barrel in the opposite direction of the stroke movement, so that the pen tip is retrograde against the paper, so that the auxiliary is scattered, resulting in a rough feeling on both sides of the line. The second is to strengthen the resistance force when moving the pen, as if something is blocking the way, trying to fight, the hand trembles unexpectedly, causing the twists and turns of the line. The knot of "Stone Gate Ming" is "flying and strange", and two points should also be paid attention to when copying, one is to emphasize the horizontal trend, and the strokes are stretched horizontally as much as possible; the other is that the left is low and the right is high, forming a dangerous modeling feature.
4. Pro "Opening the Inclined Road Carved Stone"
There is no difference in thickness in the dot painting of "Opening the Inclined Road Carved Stone", which is basically a line of equal thickness, because it is carved on the uneven mountain cliff stone wall, so the line is rough and undulating. When the author engraved this work, he may have been moved by the scenery of the mountains and rivers, and his mind was open-minded, not only the dot painting was stretched as much as possible, but also the knot was also vigorously developed, which seemed very atmospheric. The white cloth in the glyph is very sparse, and many of them are even larger than the word spacing and line spacing, so the intimacy of the upper and lower left and right characters is unified.
The calligraphy characteristics of "Opening the Inclined Road Carved Stone" are: simple dot painting, open knots, and dense chapters. When I write, I often use a line of equal thickness, under the premise that the glyph does not disperse, try to swing away, where to go, in the words of Su Dongpo, do what should be done, stop at the must, and expand the knot to the limit. At the same time, use a line of equal thickness to cut the space, and pay attention to the contrast and harmony between the size of the cut space, horizontal, vertical and oblique. I think this is a very effective way to practice Xi courage and gestures, and I owe this kind of copying to my creations in recent years, when I dare to open up unfettered in the transformation of fonts.
5, Lin Chu Suiliang "Wild Goose Pagoda Holy Order"
The dot painting of "The Holy Order of the Wild Goose Pagoda" is characterized by "graceful and charming". Specifically, its lines are very strong, the thickness varies greatly, and it has a decorative quality that looks very ornate. The knotted body of the "Sacred Order of the Wild Goose Pagoda" is characterized by introvertedness, and the outer contours of the glyph are curved towards the heart of the character. When modeling the thin dotted lines, if you do not use the restrained method to compress the middle palace, the knot will appear loose and loose due to too much white in the heart of the word. Thin dot painting is bound to be a restrained knot, this is the general rule.
Copying the dot painting of "The Holy Order of the Wild Goose Pagoda", the first must be fine and strong, the pen must have a certain speed, simply and neatly, the pen and the pen can not drag mud and water, and the middle line of the pen can not be too slow, otherwise it will not be able to produce spirit. Second, there should be a change in thickness, the pen must be emphasized to press, the pen, the pen and the turning point should be pressed, and the pen should be lightly lifted. The strokes of regular script are incoherent, but the pen can not be broken, from the strokes on the paper to the gestures in the air, and then from the gestures in the air to the strokes on the paper, writing is a continuous movement process. The gesture in the air is the transition between the two strokes on the paper, and the coherence of the stippling and the liveliness of the form in the work depend to a large extent.
6, Linyan Zhenqing regular script
The general characteristics of Yan Zhenqing's calligraphy are: the dot lines start and end clearly, and the lifting and pressing are strong, because the pen is heavy, after the pen is spread out, the elasticity of the pen itself can no longer make the pen return to the vertical state, so when turning and commuting, it has to increase the action of returning to the top, and the so-called "crane feet" and "shoulder blades" appear, and there is a lack of corners at the end of the brush.
The ancients said that "dot painting gives birth to knots", and if the dot lines are thick, if the knot is too compact, the eyebrows and mustaches are squeezed together, which is not good-looking. Therefore, when Yan Zhenqing was dealing with the knots, he had to adopt the method of outward extension, leaving a blank space in the middle of the glyph as much as possible, arranging the strokes around, and trying his best to expand outward into a waist drum-shaped arc. Yan Ti uses the method of external extension to wrap the strokes in a square font as much as possible, and the shape is congregated, and there is not much uneven relationship between words.
Therefore, the word spacing and line spacing should be tight in the chapter to strengthen the coherence of the top, bottom, left and right. The dot painting is a knot, and the knot determines the chapter, and the three are integrated: the dot painting is thick and heavy, the knot is open and broad, and the chapter is dense and full, which is the style of Yan Zhenqing's regular script.
There are three problems that should be paid special attention to in the basic techniques of copying the Yan body: first, the lines of the Yan body are thick and heavy, and if they are not mastered well, it is easy to degenerate into a rough ruffian; second, the various characteristics that appear at the turning point of the reversal due to the return of the brush strokes to the top will become a contrived depiction if they are not properly understood; and the third is the outward extension of the body, and the one-sided emphasis on the circle and turn, will lose kitsch.
7, Linyan Zhenqing's "Sacrifice Nephew Draft"
Yan Zhenqing's line of writing opens and closes vertically and horizontally, magnificent, its dot painting is very vigorous, reverse into the recovery when writing, the center walks according to the pen, there is a seal method, the pen and the pen are drawn with silk ribbons, so that the dot painting is flexible and smooth on the basis of the vigorous, and the posture jumps out. Its knots are mostly extended, very open, the word spacing and line spacing on the chapter are relatively compact and dense, and the whole style can be summarized by Shen Xiong's magnificent four characters.
"The Manuscript of the Sacrifice of the Nephew" is ink, round and vigorous, smooth and unrestrained, clearly reflecting the fineness of the pen, and is the best model for beginners. Once engraved, the astringency and subtlety of the lines increased, making it appear thicker and more vast, and strengthening the facial features. Learning Yan Zhenqing's book should be obtained from the "Manuscript of the Sacrifice of Nephews", and the god should be obtained from the "Fight for the Seat". The predecessors learned to pay attention to the authentic handwriting and light engraving, and I think it is easy to write lightly and smoothly when I come to the "Manuscript of the Sacrifice of Nephews", and I should copy the "Fight for the Seat Post" at the same time.
8, Linyang Ning style "Leek Flower Post"
Xingshu is a quick copy of regular script. The transformation from regular script to line script should pay attention to two aspects: one is the gesture, which partially expresses the gesture that originally walked in the air on the paper, becoming an intermittent thread. The second is the posture, the knot of the regular script is flat and stable, and the book will begin to sway left and right with the shape relationship and continuous way of the upper and lower characters. The ancients discussed books, taking the potential as the first, and the correct handling of pen gestures and posture is the key to writing a good book.
The dot painting of "Leek Flower Post" emphasizes the lifting and pressing of the frustration when starting and closing the pen, wrapping the pen through reverse entry and recycling, condensing the strength, and moving the pen in the middle is very fast, and the lines are very strong, which is a typical style of post learning. "Leek Flower Post" dot painting is vigorous, so the knot is also relatively compact, the shape is slender and long, and occasionally a few long lines are horizontally produced, which looks very handsome. The word spacing and line spacing of "Leek Flower Post" are extremely wide, in order to avoid scattering when writing, we must pay attention to the echo connection of the gesture and the posture, and pay attention to the shape change of the sparse size.
9, Linmi Fu
Mi Fu's pen by Chu Suiliang influence, high, heavy, ups and downs, written out of the dot painting calm and happy, ups and downs, a strong sense of rhythm. The art of calligraphy emphasizes horizontal and vertical, but they are not horizontal and vertical in geometry, but heavy on feeling, whether it is a curve or an arc, as long as it feels flat and straight. Mi Fu is good at using arcs and curves, so the dot painting and knots are particularly vivid.
Mi Fu in the knot body advocates "the word is not a positive situation", "must have a body is good", according to the glyph complex and simple and up and down the relationship between the left and right to the knot. His words are often left and right, swaying and multi-faceted, even loose and tight, top-heavy, some people likened it to "such as Li Bai drunk poems, although his posture is reversed, not formal, and the mouth is spitting, all into a five-color text". Mi Fu Xingshu hand-me-down works, "Hongxian Poems" is more chic and handsome, with the influence of Chu Suiliang;
10, Lin Dong Qichang
Dong Qichang's cursive writing is euphemistic, clear, and hearty, the lines are continuous, and the flow of time jumps on the paper. As soon as people's senses touch the lines, no matter where they fall at first glance, their attention will unconsciously follow the order of the lines unfolding, and they will appreciate the feeling of music when they experience the writing rhythm of thickness and length, retraction and closure, light and heavy, and lifting and frustration. Among the cursive works of the past dynasties, Dong Qichang is the most musical.
In copying Dong Qichang's cursive script, we should pay attention to four aspects: the first line should be pure, just like the sound of silk and bamboo in the national musical instrument is so light and melodious, so that the pause in the writing should not be too obvious; the second knot should be round and sparse, as tight as possible and loose at the bottom, so that there is the effect of "showing off quite clearly" and "refreshing and clear"; in the third chapter, the law should expand the word spacing and line spacing, and pursue the artistic conception of scattering and emptiness; and the fourth ink should be clear and elegant, so that people feel that there is a clear air between the empty and the clear.
Source: Chinese Painters Art Research Institute