Hello everyone, today we will talk about a few excellent cursive works in the 12th National Exhibition, and see what they have and why their works can be included in the exhibition.
The above parameter works, antique paper, Huang Tingjian's cursive brushwork. The right side is full of composition, more than two-thirds of the full composition part, in the full composition, sparse, point, line and surface layout is appropriate, and it looks stable. The left side of the white space is just right, and the left side is light in ink, how to find a balance?
The top piece is red, holding down the weight. There are a few lines of small words on the red color, which has the feeling of inscription, dense, and also adds weight. In this way, the visual weight of the left and right is equal, and the words below are one size smaller, the ink color is heavy, and the seal is added. The overall feeling is harmonious.
The rules are harmonious. There is no problem with a single word, it looks antique, and the chapter layout is eye-catching. Outstanding.
Above, green paper, two white in the middle, to prevent the whole green from being too dull and increase the brightness. Secondly, the three splicing, full of ritual, and most importantly, convenience, which part is not well written, and the modification cost is small. Otherwise, an eight-foot piece of paper will be pushed off and restarted, which will cost time and money.
The overall knot Mi Fu style is the main. The line is doped with cursive writing, and the writing is clean and neat. The overall rules have not changed much. Relatively stable.
This is not so prominent if it is synthesized on large white rice paper.
Full composition, this contemporary master likes to use this kind of layout, Liu Hongbiao, Zeng Xiang, Zhang Xuguang, and several of them are commonly used. This layout has a bit of Xu Wei Wang Duo color. The overall strokes are skillful, sparse, the ink color changes, and the blank space is very set. The comprehensive layout ability is very strong.
The two kings are mainly all the way, there are Mi Fu, Yan Ti Xingshu, the word Boren is an obvious source of Bo Yuan. Strong comprehensive ability, will be more. The most important thing is coordination.
I am not afraid of many people, but I am afraid of the blunt use. Use it well, others will say that you see him copying the posts, absorbing the essence of many famous scriptures, using his own methods to express his understanding of the ancients, learning from the ancients is not confined to the ancients, and can produce new. Able to learn, can apply.
The ink color is prominent. The characters are also very large, and the ability to control the pen is strong.
The benefits of splicing are not mentioned, and the overall feeling is good. This pattern is now tried not to be used, there are too many, and in recent years, the judges have rejected this pattern a little. The heading on the right, the middle content, the inscription.
Admittedly, though, this layout is a good one. It's just that the judges have seen too much.
When the ink color is thick and the paper color is not prominent, the highlight is the pen and ink. The pen is heavy, steady and spicy. Kung Fu is profound. Absolute strength in front of the decoration those are all side dishes.
Antique paper, text ink color changes, thickness changes, white space, are all very good. Also a master. The words are very prominent chapter layout, and the color matching is not so important.
When I think of it, there is no sun to have a moon, no moon to have fireflies, and if there are no fireflies, then there is no sight.
If the words are written very well, the big white paper is still OK, the word kung fu is almost hot, not much, you can make up for it with the creativity of chapter layout, these moves are still not good, then practice the words.
This has a feeling of Mi Fu copying the seat post. Light antique paper, splicing effect. The word variation is also abundant, and there are also ways to take it. Also excellent.
This chapter layout is comfortable. White space is the highlight. The small characters of the red pen have the feeling of inscription. The text itself stands up to scrutiny. This kind of chapter layout Liu Hongbiao uses a lot. The whole is very coordinated. Very good. Everywhere it hangs, it's a dazzling existence. It's normal to be in the exhibition.
How, are there all bright spots. At the national exhibition, it still depends on the strength. These chapter layouts are also worth learning. You choose a chapter, but if you have a little foundation, not to mention the national exhibition, the provincial and municipal exhibitions are not a big problem. It is best to sharpen a sword in four years if you have a pursuit. Pursue it at a higher level.
I wish you all the best in the day!
(ENDS)