In the process of development, a variety of book formats have been formed, and some rules for writing books have also been formed, and these rules for writing have developed into guidelines for the creation of books. The eight general principles of the chapter and law are summarized below.
1. After the pen
The plot of the chapter is the overall design of the creation of the book, which must first be intended, and then written with a pen; and the writing has the characteristics of falling into a fixed pen and "not being re-changed", so it can only be written after the intention of the pen, which forms the principle of penmanship after the intention. Thus, the sages of calligraphy emphasized the intention before the pen and then the writing. Cai Renshu said: "If you want to write, first scatter your arms, have any leisurely feelings, and then write books." Lady Wei admonished: 'The former failed after the pen... The former pen wins." Wang Xizhi pointed out: "If you want to write a book, you should first dry the ink, concentrate on meditation, anticipate the size of the glyphs, waiting for the elevation, straightness, vibration, and the connections between the tendons and veins, with the intention of writing in front of the pen, and then compose the writing." The Book of Books also says: "The heart is not tired, and the hands are not forgotten... After the pen, dashing and wandering, Han Yi shen flew. "It can be seen that calligraphy writing can only be carried out with the hand at will, the pen is turned at will, the pen is not vain, and the next pen has a reason." As for the temporary play, writing a satisfactory book, I think that the book is "before and after the pen", which is obviously a misunderstanding. Because writing is satisfactory to oneself, it does not necessarily conform to the law of calligraphy art, and even if it conforms to a certain method of calligraphy, it can only be a little progress in learning.
2. Choose a font
Calligraphy uses Chinese characters as the carrier, and Chinese characters have fonts and calligraphy such as true, line, grass, li, and seal. When composing a book, it is necessary to choose the most suitable font to write a piece, and express the physical beauty of calligraphy art with the physical beauty of the font. The method of selecting fonts is roughly as follows: First, according to the general meaning of the text (text content) of the book, select the most appropriate font, so that the font and the meaning are coordinated and unified, and the shape and meaning of the text (mainly the glyph) fully reflect the physical beauty of the calligraphy. For example, the ancient meaning of the text is matched with an ancient font, and the elegant meaning is matched with a spilled font. Secondly, according to the format of the book format - the middle hall, banner, plaque and other different needs, choose the appropriate font. Third, in view of the times, society, the direction of "two for" and the specific environment, the font that the people are more happy to see is selected. At the same time, consider the application of simplified fonts. Zhou Enlai said in his report "The Tasks of current character reform": "Calligraphy is an art, of course, it can be exempted from the simplification of Chinese characters, so the simplification of Chinese characters will not have any adverse impact on the art of calligraphy in our country, and at the same time we also welcome calligraphers to write according to simplified characters, so as to improve the artistic level of simplified characters." In short, the writing of the book should be comprehensively considered, so that it is easy to conform to the situation of "setting up with the encounter" of the plot and playing a new and ingenious effect. It can be seen that the independent nature of calligraphy art is ignored, and the content of the text is regarded as the content of calligraphy; Or the argument that calligraphy is shaping glyphs and has nothing to do with the meaning of the characters is obviously incorrect and untrustworthy.
3. Vertical and horizontal
Chapters and laws constitute the form of the book, and there are two major categories: vertical and horizontal. Vertical width is commonly referred to as vertical width. There are two forms: one is vertical and horizontal, horizontal and column, the so-called "vertical and horizontal into rows". The writing method of the format, the development of the font does not change much, the arrangement is neat, clear and beautiful, and it is advisable to write with seal, li, italics and other fonts. The second is that there are vertical lines and horizontal columns, that is, the writing method of forming rows and not columns, the number of words on each line is not equal, the font size is different, the word spacing is different, the pitch is different, the pitch is appropriate, the change is not in place and the coordination is unified, and it is completely in chapters. This distribution form is suitable for writing in line and cursive fonts. As for the way the banner is written, there are also two forms: one is the way of writing arranged in a horizontal line, also known as "horizontal batch", the main one is the writing method of plaque, plaque, stele, door and so on, the traditional writing method is written from right to left, and now there is also a style of writing from left to right. The second is the writing method of short vertical lines embellished into banners, that is, handwritten scrolls, long scrolls and some inscriptions, which have been greatly developed now, and poems and words are also written into such banners, framed into shafts, and have a tendency to replace the vertical "middle hall". However, although the forms and methods of the vertical and horizontal pages are different, the requirements for complete length, thoroughness and grandeur are the same. As for the discussion that the present generation describes the chaotic text with no lines and no columns as the third type of book frame, and confuses it with the over-the-top writing method of cursive writing, and praises its "natural beauty", it is obviously incorrect. Calligraphy is a high-level art of "calligraphy and law", and the artistic beauty of calligraphy is not equal to the beauty of nature. The grand theory of abandoning miscellaneous books and maintaining the purity of calligraphy is enough to make people think deeply.
4. The first word leads
The first character of the calligraphy work has the function of commanding the whole text, like the vanguard of the line, the timpani drum playing music, and the flying leading goose, which is important and obvious. The "Book Genealogy" points out that "one word is the criterion of the final part", indicating that such a word is the standard and criterion of the whole text. Zhang Jingxuan's treatise said: "After the Fa is completed, the font has its own control, one word pipe two words. Two words tube three words, so manage one line; One line tube two rows, two lines tube three rows, and so on one paper. Therefore, in the planning of calligraphy art creation, first of all, according to the brushwork and knot method of the font used, the body posture of the first character is written in a law-like manner, standardized and flexible, and becomes the standard style of the whole text. Then, according to the font category and style of this word, the whole text is written in a suitable size, dense and symmetrical, jagged, and decent, thick and light, virtual and real, end to end, seamlessly integrated. Thus the wonder of the brushwork and the ingenuity of the knot are integrated between the lines, fully demonstrating the physical beauty of the art of calligraphy.
5. Line gas penetration
The flow of qi in the chapter is to distribute "accumulated into rows, embellished into chapters", with the qi pulse between the lines running through the smooth, showing the vivid and vivid qi rhyme of the length, and it is natural. The qi of the book banner is the qi that Wang Xizhi said, "If the qi of the book is the qi of the book, it will reach the Tao." This kind of qi is the qi vein of calligraphy, which is contained in all aspects of the book, and the qi that is contained in the middle of the ranks is called xingqi. Jiang He said in "Authentic Calligraphy": "A word and eight faces are spiritual qi, and a chapter of the Fa should be taken care of as external qi... The outer qi speech has a virtual reality, dense, and discipline, and then handed down, intricately reflected. Jiang Ji said in the "Treatise on Continuing Calligraphy": "The length of the chapter is the first, the fortune is the virtual, and the reality is the spirit; taking the virtual as the truth, the broken place is still continuing." This shows that the qi of calligraphy, although invisible, can be manifested through the calligrapher's lawful writing. That is to say, the relationship between words and words, lines and lines, such as denseness, continuous disconnection, backward, virtual reality, etc., to carry out the dialectical arrangement of "violating but not violating, harmony and difference", and implementing the clever writing of "poor perversion in the slightest, and reasonable tone on paper", so as to create a fine calligraphy art with both form and god, and its behavior is obviously visible. For example, the "Orchid Pavilion Order" we see, although the Tang Dynasty is admired, but the xingqi is still vaguely visible; and Huai Ren's "Jiwang Shengjiao Order", which is also Wang Xizhi's character, obviously lacks xingqi.
6. Ink color coordination
The coordination of ink and color of the book is very important, and of course, the layout of the book cannot be ignored. Although the ancients understood the importance of ink, they did not discuss much, because they learned to work diligently, learned penmanship, and learned to use ink, so there is no need to talk about it. After the "absolute" of calligraphy, people could not learn the penmanship well, and the pen could not be compared with the ancients, so they focused on the innovation of calligraphy and ink. Bao Shichen said in "Yizhou Shuangyi": "However, the calligraphy of painting is based on the pen and becomes in ink, then the key to the art of ink and calligraphy is also." Shen Zengzhi said in the "Hai Ri Lou Za Cong": "The difference between the ancient and modern mofa ... Since the Song Dynasty, painters have taken brushwork from books; since the Yuan Dynasty, calligraphers have taken ink methods from paintings. The calligrapher adopts the painting method of "ink divided into five colors" to write a book, which naturally forms a situation of thick ink, light ink, dry ink, and rising ink. As for how to use ink in the book, the "Book Notation" not only makes a brilliant example with a huge inkblot, but also makes a brilliant explanation from both positive and negative aspects. The so-called "skillful involvement of Danqing, the merit of Han Mo" points out that the ink used in the book does not conform to the situation of calligraphy; and its theory of "drying and running, will be thick and dry" breaks the trick of calligraphy ink. That is to say, only by writing such an ink-colored charm with the method of guiding the rapid and flipping the pen can we meet the requirements of calligraphy art.
7, in one go
The distribution of chapters and methods needs to be written in one go, which is determined by the characteristics of the chapters written. Calligraphy is written as a chapter, which is different from other arts. Composition needs to be repeatedly revised, poetry needs to be frequently deliberated, painting can be changed while painting, and calligraphy is formed by falling pen, "not to be re-changed". Therefore, the art of calligraphy writing not only needs to be intended to be in front of the pen, "the next pen has a reason", but also to be skilled, so that "the rules are in the square circle, and the hook rope is straight". At the same time, we must also purify our hearts and nourish our qi, forget both things and me, and not breathe, and do it in one go. Only in this way can the writing be written in a magnificent manner, the qi pulse is connected, the qi rhyme is vivid, the dragon flies and the phoenix dances, and it is vivid. This is just as Wang Shengqian revealed the essence of the art of calligraphy, pointing out that "the spirit is the first, the form and quality are secondary", and then explains that "the heart will forget the pen, the hand will forget the book, the heart will reach the love, and the pen and the book will forget. In short, calligraphy is a peculiar art of "writing and having a law", and only when the calligraphy is skillful, forgets the rules, pays attention to it, and is done in one go, can the calligraphy work be written with the law and become an art with vitality.
8. There are laws and regulations
All art needs to be innovative, and the layout of the rules is certainly no exception. However, the essence of calligraphy is "book and law", that is, the so-called "calligrapher, book and law". Therefore, the innovation of calligraphy art is realized by the writing of "there is a law and there must be a transformation", that is, it is often said that innovation is based on inheritance. Judging from the development of calligraphy, all true calligraphers have obtained the Fa after long-term copying; all the calligraphy that has been studied by future generations has changed from several inherent fonts, and this change and innovation also has a certain degree of legality. For example, Yan Zhenqing's innovation mainly adopts the writing method of the center forward, that is, the so-called "seal people kai". Mi Pu, who collected ancient characters and obtained the method, realized the method of pen movement that combined the flanking of the predecessors, that is, the so-called "brushing words". In his later years, Zhao Mengfu changed the method, and also learned the pen method of combining Li Beihai's flanking forward, and wrote a new Zhao body. It can be seen that the innovation of calligraphy must truly grasp the unique pen method of the font; second, we must seek rational changes in the knot and chapter method; third, we must cultivate a personal style that meets the requirements of calligraphy. All three are available, and they can create standardized and ingenious calligraphy masterpieces. Even if the formats such as couplets and fans are still used, the text content of Tang poems and Song Ci can still be innovated in book art.
"Chuwangshan Calligraphy and Painting Institute" collection and collation
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