What I share today is the inscription of Huang Tingjian's cold food post in Huangzhou. The content and text are very interesting and full of human sophistication. Let's talk about it from the two aspects of content and text.
Commentary:
Dongpo poems are like Li Taibai, I am afraid that Taibai has not been everywhere, this book and Yan Lu Gong Yang Shaoshi Li Xitai penmanship, try to make Dongpo reinstated, may not be as good as this. When he sees this book, he should laugh at me for being honored in a place where there is no Buddha.
This passage points out the object of Su Dongpo's study of the teacher, Yan Zhenqing, Yang Ningshi, and Li Beihai. Let's go on to say that letting Dongpo write it again may not have this effect. Here borrowed Wang Xizhi to write the allusion of the Orchid Pavilion preface, legend has it that Wang Xizhi wrote the first line of the book Orchid Pavilion preface in one go after drinking, and the next day after the wine woke up, there was no original beauty in writing.
Here is a naked praise of the Dongpo cold food post god products. This is the praise of the literati, not so naked and so naked, boasting to the sky.
One day, when Dongpo sees this passage I wrote, he may laugh at me and point out the country here. What is said here is still relatively modest. Maybe Su Dongpo really saw this sentence and said with a smile: This is reckless...... Praise me too much...... (I thought: You kid can still speak, and in front of me, I said that I was a stone crush toad, and it was still interesting behind my back).
These characters are still written more excitingly, and the words of this period are similar to those of Songfeng Pavilion and Zhang Datong, and the mature Huang Tingjian style. His characters are typically characterized, tall, speared and halberded. The stroke lines are of high quality. For example, the above Dongzi has a strong pen, a clean and neat pen, and it is very intriguing. The texture of the strokes is good and prominent.
From an innovative point of view, the fusion of his characters with Wei Bei Kaishu is also quite interesting, you can try it. used his structure and replaced it with Zhang Menglong's technique.
The short character makes it short, and the east is written thin and tall, quite the width of this word, and the knot changes everywhere. This is the master, he embodies the contradictory relationship in the subtleties. For example, if you write according to the red route, this character is not as attractive as his. Dense, blank. It's all wonderful. Including interspersed, not to mention the dot painting.
The flat word is very flat, the pen is round, the whole word hides the sharp edge, and the person with the spear and halberd suddenly gathers the edge, which in itself is an unexpected contrast, and it is more intriguing. The retraction and release cooperate with each other, which is also a kind of rhythm, isn't it?
The analysis of single words is wonderful everywhere, and this wonder is still shown in the randomness of the attached form of the word. In fact, the art of calligraphy is really not that complicated, skillfully use the rules, break through again and again and summarize the rules.
It's really hard if rote memorization.
The above word, the steel bar is built in general, and the sense of power is very sufficient.
The pen is nearby, and it is naturally dense. The two sides seem to be far apart, but this bite feeling pulls in the distance.
The fitness figure is quite high.
Flat, wide.
The Yi on the right is not the feeling of Wang Xi's holy order.
Flattened, outwardly extended. Whether it is external expansion or internal expansion, it is all for him. Don't be fooled by appearances.
The upper and lower ink colors are connected, and the pen is dry. The dry pen must first be adjusted and changed, otherwise how to play if it is fried? Secondly, the starting line should be more complete. Otherwise, the strokes will be fried and leak. For example, if the above picture is fried according to the green hair, won't it be over?
Finally, I would like to add a chapter to the law.
The characters are thin and tall, and the general word spacing is small and the line spacing is large, which is more delicate, such as Ouyang Xun Kaishu layout. The glyph square has small kerning and line spacing, making it appear dense. Yan Zhenqing's layout is also like this.
The overall word and word collocation are nothing more than three general directions. The green color in the picture above is interspersed, and the bottom is pushed into the upper air port. Mortise and tenon bite feeling.
Either the red mark in the picture above is written flat below to support the words above. There is also a direct ribbon at the yellow mark in the figure below. Write up and down. Even the pen has the meaning of tilting up.
The upper and lower words are closer, and the interspersed ones are more exaggerated. The change in ink color is natural writing, and the ink color is dry and stained with ink. The first line of the picture above is obviously getting dry. Write until the pen is dipped in ink. When I wrote about it, I got ink, why didn't I do it? That's where he handles the ink block layout as he pleases.
After you are proficient in one ink, you can adjust the ink color according to the visual impact of the ink block you want to increase there.
Well, that's all for today, I wish you all the best every day!
(ENDS)