Hello everyone, today let's discuss the characteristics of Zhong Xuan Xiaokai, the characteristics of the cemetery Bingsheti, and how to learn it efficiently.
Overall Feeling:
1. Fluidity of brushwork.
The fluidity of the brushwork is mainly reflected in the brushwork. I don't know if you still remember the penmanship of the inverted shallot. The feeling of a leek leaf being upside down. The most prominent expression is the Qin Jianhan stick figures. A few words from the picture below.
gas
It is different from seal writing, and his strokes are generally from thick to thin and from fine to thick, not as uniform as seal script. This turning point is basically the past. There are very few square folds.
above
This is the older brushwork. It's a straightforward feeling. It may seem random.
earth
Writing from thin to thick strokes is a pen tip that is tied to the paper in situ to form a medium-thin and abrupt pointed pen. There is a pointed form, but it does not show the sharp edge of the pen. From thick to thin strokes, the pen is hidden, and the line is slightly stopped at the thinnest place to fix on the paper. The effect is the same.
also
Directly a swing to change direction. The red area pulls the bristles and changes direction directly, and the action is very simple.
Zhong Xuan absorbed this brushwork and added it slightly. But it's still this sense of movement in my bones. Imagine you are holding a 10-meter rope in your hand and dragging it on the ground. You turn normally, and the trajectory of the rope dragging on the ground is the feeling of Zhong Xuan's turn.
2. The knot is clumsy.
This clumsiness is mainly reflected in the clumsy brushwork, and the primitive inverted shallot brushwork is the main. The structure is misaligned to form archaic. Misalignment is not working, and not working is clumsy. The strokes are contracted, depressed, and uncharacteristically clumsy. The long strokes are very restrained, and they are written in tow. The side changes, not just crooked, the child is crooked. The childishness has not been detached from the old-fashionedness.
3. Regular script mixed with line script. Relaxed and lively.
The regular script is added to the line book, which is flexible and changeable. It's dynamic.
Here are two overall diagrams. You can refer to it.
Here's a one-word analysis:
The above tomb character is estimated to be the square pen grass head copied by Wang Xizhi. The beauty of this word is that the gap between the top, middle and bottom is so large, and it can still be kept out of touch. Skimming is more receiving. The whole word is tall. The tall character makes it high, conforming to the natural structure of the word.
The above word is drawn vertically, not so sharp. The nib of the pen is accurate to the paper, and the pen is pulled down. The internal vertical painting is on the left, and the whole character space is breathable. Do not seal. Fold the pen horizontally to collect the pen seal calligraphy.
The knot is broad, semi-encircled, fully encircled, and not sealed. Tilt left up and right down. Yan Zhenqing's seal qi comes from Zhong Xuan.
The contrast is strong, short and thick to slender. Note a few golden section points. Suppressing the left and letting the right, Ouyang Xun learned.
Broad, suppress the left and let the right. Leave white space in the middle.
Suppress the left and let the right, broad, and leave white in the middle.
Routine.
Misalignment plus dexterous layout.
Suppress the left and let the right, and leave a blank space in the middle. Two o'clock line book. Wang Xizhi is also good at half line writing and half regular script. Combination of movement and static.
The structure is beautiful. Cheng asked Ouyang to learn.
West Ouyang went to school, five or five points. No sealing, no adhesion.
The above one is static, and this one is dynamic. The repetition word changed. This line is written.
The above two Sun characters have also changed.
Suppress the left and let the right, the left is oblique and positive, the left is thin and the right is fat. Wang Xizhi absorbed this essence.
He likes triangles, unsealed, and more than enough.
This is a combination of movement and static. One falls, one rises, balanced.
On the left side is a crooked line of calligraphy. Suppress the left and let the right, and leave a blank space in the middle. Right side positive.
Wide and more than triangular.
Wang Xizhi has eaten this zigzag thoroughly.
Remember that feeling.
Xingshu, Shu Lang.
It's crooked, but balanced. This apostrophe is like a crutch against the ground and does not fall, so there is a balance.
Collect and create a blank.
Suppress the left and let the right.
High, the strokes converge. The vertical painting is straight, Wang Xizhi has learned.
Size, movement, and last point to find a balance. If the last point is placed in the green block, the word will be inverted.
Although the strokes are small, they are also meticulous. Counterbalance is reversed.
The center of gravity is shifted downward, clumsy. The top is still moving down.
Wang Xizhi learned.
Pay attention to the changes in the upper and lower two mourning words.
The word is far away and the heart is near.
Suppress the left and let the right.
Horizontal drawing long counterweight application. Increase visual weight. For example, if the visual weight of the left stroke is 1 units, then the right side is basically the same.
Thickness changes are noted. Thin strokes should not be thin.
Draw a twist and turn, don't write flat.
Dai Gu people write like this.
Very breathable. Of course, this is a small block letter, and you can't write it when writing big characters.
Taking words seems very simple, but to write well, you need to pay attention to subtlety, and the writing is sharp, and the taste will fade.
Disaster. Memorize how to write it and memorize it. The following lines of writing are written. Zhiyong and Zhao Mengfu have all used it. Occasionally, it looks clumsy.
This painful word Wang Xi has many uses, and the writing style is also in the same line.
The dislocation of the virtuous character is fully utilized. The upper and left and right structures are dislocated up and down, and the above is taken as a whole, and the left and right are dislocated with Bei.
Suppress the left and let the right. The painting retains the feeling of picking up the book, and Ouyang Xun likes to use it.
It is very beneficial to take a shape for the knot, and pay attention to the details of the change. Size and thickness. In the end, these are changes.
Changeable. As we said in previous articles, when copying, you can highlight the contradictory relationship and enlarge the copying, and it doesn't matter if you exaggerate. But the real advanced change is the return to normality. This fairness is definitely not a flat and stable, but a small action, a small change. At first glance, it is very plain, and there are all kinds of changes up close.
An invisible sense of order.
Exaggeration.
Fingers draw a circle motion, nothing superfluous. He is round, not pressing.
Xiaokai is good at using this trick, and the parts are not connected. Loose and breathable.
Sealing feels different from not sealing.
It's exciting to look at.
Suppress the left and raise the right, the left side and the writing is very close, and the last violette is also very close. The right side is tolerant. The change is in people's bones. Shots are variables. This is the result of accumulation over time.
It's an exaggeration.
Pay attention to the feeling of being small.
Cleverness and clumsiness. The mind is ingenious, and the clumsiness of the performance.
The female middle palace is tight, small, and the mouth is large.
Each word has a place where the rhyme converges. Green. In the small Kai, the last horizontal of Zhong Xuankou mostly exists in the form of dots.
When we are posting, if you pursue a look like him on the outside, you can copy it accurately, and even memorize it. If you ask for his penmanship, then you need to master his mind. Learn about his methods.
Okay, that's all for it!
(ENDS)