Wang Xizhi is not only proficient in penmanship, but also has a rare talent in ancient and modern times in dealing with glyphs, in addition to him in history, there is no shortage of people who use first-class pens, but playing with his characters carefully, in the vertical and horizontal changes of glyphs, compared to Wang Xizhi's means, he always feels limited.
We analyze the "Ping'an Post", "He Ru Ti", and "Feng Tangerine Thesis" to find the following rules of Wang Xizhi's glyphs:
1. Wang Xizhi's knotted characters place great emphasis on the shape of the word, a certain square of the party, a certain length of the long, a certain circle of the circle, the shape characteristics are obvious, and the difference between the glyphs between the words and the words is changeable.
2. The four corners of many words can coincide exactly on the red box line in the figure, which is no accident, and the kung fu of Kaizheng is reflected in the pen, unambiguously, such as "repairing", "same", "white", "honorific body", "how to", "orange" and other words. The square cut, like the bricks of the wall, makes the whole passage upright and strong.
3. The glyph of the triangle, regardless of the side, has distinct shape characteristics, just like an accurate geometric calculation. This is not a coincidence, but a long-term experience.
4. Not only is the shape of the whole word like this, but even the partial side of the word that is separated also obeys this appearance law. Such as "Ming", "Complex" and other words.
5. The shape is established, and the internal dot painting can seek to divide and change as much as possible to increase the detailed difference of the same shape word and make the whole text more abundant. For example, several vertical paintings of the character "Xiu"; several horizontal paintings of the word "Carry"; two horizontal paintings of the word "Lai" and four different horizontal paintings formed by the combination of two groups of left and right points; four short horizontal paintings in the middle of the two parts of the "Ming" character Sun and Moon; two groups of horizontal paintings deliberately parallel in the "Zun" character "Chi"; the right vertical oblique curve of the "descending" character, deliberately opening the middle and lower parts, and so on, just like the white cloth carved by the seal, each showing its means and seeking changes as much as possible.
The whole text is large, small, retracted, and put, and the words change, and there is no similarity. As Wang Shu said in his "On the Leftovers of the Book": "The Wei and Jin people's books, one positive and one biased, have changed vertically and horizontally, and lack of paths. This is Wang Xizhi's great skill. If you don't believe it, you can try, and in the moment of writing, you can produce such a rich change in the pen, and pay attention to it in one breath, natural harmony. Ancient and modern, only one person!
Source: Teenage Girl
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