1. 100 questions on calligraphy knowledge
100 questions on calligraphy knowledge 1. 100 questions on calligraphy knowledge
1. Do you understand the content of "calligraphy" ? ………………… (1) 2. What is the connotation of “calligraphy”? What are the similarities and differences with "calligraphy"? …………………………………………………… (2) 3. Do you understand what “calligraphy” refers to? ………………………… (2) 4. Do you understand what “calligraphy” is? ………………… (3) 5. What is “calligraphy aesthetics”? ……………………………… (4) 6. What does “calligraphy philosophy” include? ……………………(4) 7. What is the difference between “calligraphy art” and “calligraphy works”? ………… (5) 8. What does the content and form of “calligraphy art” refer to? ……………… (6) 9. What does the content and form of “calligraphy works” refer to? …………(6) 10. Please talk about the independence of the art form of calligraphy………………(6) 11. What is the relationship between “degree” and calligraphy? ……………………………… (7) 12. Please talk about the ontology of calligraphy……………………………… (8) 13. Please talk about the abstraction of calligraphy art Questions……………………(9) 14. Please further explain the relationship between ancient Chinese hieroglyphics and calligraphy abstraction……………………………………(10) 15 .Where does the "ambiguity" of calligraphy art manifest? ……………… (11) 16. What is the “dimensionality” of calligraphy? ……………………………… (13) 17. How to understand the relationship between calligraphy and society? ………………………… (14) 18. What is “calligraphy management”? What does it include? …………(16) 19. Please talk about “Calligraphy Economics”……………………(17) 20. What does “Calligraphy Pedagogy” include? ………………………… (18) 21. What is the relationship between calligraphy and “aesthetic education”? How to carry out calligraphy aesthetic education? …………………………………………………… (19) 22. What is the relationship between the study of calligraphy and history? What does "calligraphy history" include? ……………………………………………(20) 23. Why should we establish “International Calligraphy Communication Studies”? What are its main contents? ……………………………………………… (20) 24. What is “calligraphy psychology”? …………………………(21) 25. Please talk about the relationship between calligraphy and physiology? …………………………………(22) 26. Please explain the content and importance of “calligraphy folklore”………………(22) 27. What is the relationship between calligraphy and writing? What is the main task of "Calligraphy Philology"? ………………………………………… (23) 28. What is the significance of “textual research on inscriptions and inscriptions” on calligraphy? ………………… (23) 29. Why do calligraphers need to know something about the appraisal of inscriptions and inscriptions? What does it include? …………………………………………………… (24) 30. What is the significance and content of establishing “calligraphy tools”? ………… (26) 31. What is a “calligraphy talent”? ……………………………… (26) 32. What are the reasons for the emergence of “Calligraphy Talents” and what are its contents? …………(28) 33. What are the main internal laws for the growth of calligraphy talents? …………(28) 34. Please make “optimizing knowledge structure” more specific………………(29) 35. What are the external factors for the growth of calligraphy talents? ……………………(31) 36. Please talk about some issues related to calligraphy talent management…………(32) 37. What is a calligraphy “ghost talent”? …………………………………… (33) 38. What are the conditions for talents in calligraphy theory? …………………………(33) 39. Is there “inspiration” in calligraphy creation? What is "inspiration"? ...(34) 40. Why should we pay attention to the research of calligraphy information? What methods are used to collect information? ……………………………………………… (
35) 41. What is the content of “Calligraphy Futurology”? ………………… (36) 42. What are the important meanings of calligraphy appreciation? ………………………… (37) 43. Please talk about the characteristics of calligraphy appreciation…………………… (39) 44. Historically, the same work has often been evaluated very differently. Please talk about the reasons for this situation……………………………… (40) 45. What is the “spirit” of calligraphy works? ……………………………… (41) 46. What is the “charm” of calligraphy? …………………………(42) 47. How to understand the “artistic conception” in calligraphy? ……………………………… (43) 48. Please talk about the style of calligraphy……………………………… (44) 49. What is the “image” of calligraphy? ……………………………… (45) 50. What is the “style” of calligraphy? Please give an example……………………(46) 51. What is the “implication” of calligraphy? …………………………………… (48) 52. What is “book quality”? …………………………………… (48) 53. What is “character grid”? …………………………………………(49) 54. What is “distance viewing” in calligraphy appreciation? ……………… (50) 55. Please explain “Yuanshi” again…………………… (51) 56. What is the “living ginseng” in calligraphy appreciation? ? ……………… (52) 57. What is the unique beauty of calligraphy? What are the reasons for it? …………(53) 58. Please talk about the “structural beauty” of calligraphy………………………………(55) 59. What is the relationship between calligraphy and literature? …………………… (56) 60. Please talk about the relationship between calligraphy and music……………………………… (57) 61. Briefly describe the relationship between calligraphy and architecture… ……………………………… (58) 62. What is the intrinsic relationship between calligraphy and Chinese opera? ……………… (58) 63. What enlightenment does dance have on calligraphy? ……………… (59) 64. How to understand the “original origin of calligraphy and painting”? What is the relationship between calligraphy and painting? …………………………………………………… (60) 65. Where is the influence of Confucianism on calligraphy? ……………… (61) 66. What is the influence of Lao and Zhuang’s thoughts on calligraphy? ………………(62) 67. Please explain the expression of “thinking white when black” is reflected in calligraphy………………(64) 68. What is the relationship between “Zen” and calligraphy? ……………….
2. Little knowledge of calligraphy
1. The pen breaks the meaning
2. Shapely
"Shapely" refers to following the shape of the glyphs Strokes, properly arrange each word and each stroke, rather than "evenly" meaning. Because the glyphs have different lengths and sizes, as well as the number of strokes and the slant, if each character is written in the same size according to the square grid and every stroke is written in the same length, it will be even, but it will not look pleasing to the eye. . Generally speaking, if there are many strokes, it should be written thinner; if there are few strokes, it should be written fatter; in each word, the arrangement of stipples should be of appropriate length.
3. Straightforward
"Flatright" is what we often call "horizontal, horizontal and vertical", which is a basic principle of pointillism structure. But it should be noted that the "flat" in "horizontal and vertical" is not ordinary flat, but flat with an oblique tendency. Because human eyesight is not balanced, the horizontal painting is really flat. Due to the illusion of the eyes, it looks like it has fallen to the right. Therefore, horizontal drawings must be slightly slanted, but not too slanted.
4. Composition
Composition, in a broad sense, includes style, and in a narrow sense, it refers to the layout of the entire work.
5. The layout of calligraphy works:
Most of a calligraphy work includes three aspects: text, title and seal.
The main text is the main content to be written and the main body of the work. Articles, poems, aphorisms and other healthy, auspicious and peaceful words can be used as the content of calligraphy works.
The title is explanatory text outside the main text.
Including the title of the text, the outing, the time and place of writing, the name, font size, and house number of the writer, the title and name of the recipient, etc. Not all of these contents need to be written in every work. The content of the title depends on the specific needs of the work. Some of the contents of the title are written in front of the text, called the upper paragraph; some are written after the text, called the lower paragraph. Contents such as the name and title of the recipient should be written at the front of the text to show respect.
The seals stamped on calligraphy works can be divided into name seals and idle seals based on their content. Judging from the location of the seals, there are the first chapter and the foot seal. The seal that is stamped on the top of the work is called the first seal, and the seal that is stamped after the main text and the next paragraph is called the foot seal. Seals mainly play an embellishment role in calligraphy works, so there should not be too many seals in a work, usually one to three.
The text, title and seal are the three major organic components of a work. When creating, it must be coordinated and arranged so that the three elements form a perfect and harmonious whole.
6. Discussing the "Using the Brush" Method
"Using the Brush is Eternally Difficult", a famous saying expresses the true meaning of "Using the Brush" in calligraphy. To understand the true meaning of this sentence, we have to start with the word "easy". "
Interspersed:
For any characters formed by superimposing upper and lower parts, the upper and lower paragraphs should be interspersed with each other to avoid improper overlapping of dots and dashes.
Before writing, first think about the placement of dots and dashes, and reserve space so that the dots and dashes can have the most appropriate place.
Pay equal attention to:
Overlapping characters. Usually the upper part is smaller and the lower part is larger, and the lower part is thicker and more powerful.
For words with left and right sides, the left side must be narrower to allow for the right side.
Changes in brushwork: < /p>
If there are more than two strokes in the same character, or the shapes of the two parts are similar, try to change them.
Reduction:
Within one character. , if there are more than two buttons, only one button can be retained, and the remaining buttons are represented by points.
Sometimes there is only one button, but for the sake of beauty, the buttons will be written as points.
Reduction of hooks:
When a word has more than two hooks for change, one hook is retained and the others are omitted.
The mapping between strokes: that is, " The pen breaks the connection with the meaning."
Characters are composed of dots and dashes, and these dots and dashes must naturally produce a reflection effect according to their strokes, so that they will appear alive.
Left and right echoes:
If there are left and right symmetrical strokes in a word, you need to pay attention to the relationship between them.
3. Little knowledge about calligraphy
Regular script is transformed from the "eight-point" style of official script. Except for the silkworm head, swallowtail and twists and turns in the "eight-point" style, it is absolutely focused on In "straight and square". You should be meticulous when writing, without any omissions or sloppiness. This type of font is called regular script. Regular script is also known as "zhengkai" and "zhenshu". In terms of strokes, regular script is not as colorful as official script, but it is elegant, powerful, concise and correct. It is even better than official script in terms of peace and expressiveness. Through the efforts of great calligraphers of the past dynasties, many different styles of regular script have been passed down to later generations.
Running script is somewhere between block letters and cursive script. It is written casually without regular script or cursive script. It is neither as formal as regular script nor as unrestrained as cursive script. Just like the explanation of the word "行", it is neither walking slowly in square steps nor running fast, but starting casually and walking at will. Therefore, it is most appropriate for the ancients to call this font "running script".
The style of cursive script is almost composed of words connected with one stroke throughout the text. Although there are occasional discontinuities between words, the meaning of the upper and lower strokes are consistent, the beginning and the end echo each other, and the blood is connected. There is a momentum of flying pen and ink, dragons, dragons and leopards, all in one go. I have been learning calligraphy for more than 50 years since I was six years old, but I am more interested in cursive script, which I believe is the highest level of calligraphy. In the process of writing, the standing position of each character seems to be full of dangers, but the beauty is that it can be held firmly in the danger, so that the character shape does not appear to be skewed or soft, but has the ability to move exquisitely and can be read and copied. Pay attention to the following: coordination, symmetry, accommodation, size, width, slant and straightness. . . What is reading a post? "Reading" a post means reading more and interacting more with the words in the post. This can help memorize the characteristics of the words in the post, deepen the impression, and avoid rebirth.
What is copying
"Copying" is a common mistake in the process of practicing calligraphy, that is, although you are facing the calligraphy, you only copy the words, regardless of the frame and stippling, and make your own decisions. , do whatever you want. This kind of problem is the most unavoidable and must be avoided.
What is "back-lin"
"Back-lin" means to put away the post and write it down from memory. There are generally two methods of "backing": one is to write all the words on the post, that is, after the words are familiar, write them silently from beginning to end; the other is to follow the words silently, and write down as many words as you are familiar with. Character. Both of these methods can be used, and can be used in combination, with partial dictation first and then all dictation. After dictating, you need to compare it with the original post. If you find that some stipples or frames are different from the original post, you need to correct and rewrite it.
What is Duolin
"Duolin", simply put, means writing opposite to the post. It can also be divided into two steps, first "grid writing", and then remove the grid writing. The method of "Ge Lin" is: take a mica sheet or a thin glass sheet or washed waste film, draw a nine-square grid or a rice-character grid according to the size of the calligraphy, and then print the pattern on an exercise book printed with the nine-square grid or rice-character grid. When writing, see clearly which part of the calligraphy is in which part, and write in that part according to it. After doing this several times, remove the grid and write directly on the post. When writing, it is best to put the post on a special post stand in front of the table and write facing it. If you don’t have a post rack, you can use a few stacked books instead, or use something else instead.
What is symmetry?
"Proportion" refers to the appropriate arrangement of each word and stroke according to the shape of the glyph, rather than the meaning of "evenness". Because the glyphs have different lengths and sizes, as well as the number of strokes and the slant, if each character is written in the same size according to the square grid and every stroke is written in the same length, it will be even, but it will not look pleasing to the eye. . Generally speaking, if there are many strokes, it should be written thinner; if there are few strokes, it should be written fatter; in each word, the arrangement of stipples should be of appropriate length.
What is transference?
" transference" means that the dots and strokes of each part of a character give way to each other and echo each other, so that characters with more strokes do not appear dense, and characters with fewer strokes do not appear dense. The characters should not appear sparse. For example, the characters next to "horse" and "bird" should be written straight on the left side to make way for half a character on the right; other characters with left and right radicals should be written in the same way.
What is size?
The characters with larger fonts are written larger, and the characters with smaller fonts are written smaller; the characters with more strokes are written larger, and the characters with fewer strokes are written smaller. This is It's called the right size. For example, the characters "日" and "国" are very different in size and cannot be written in the same size; the characters "一" and "二" have fewer strokes, and they cannot be written in the same size as "Yi", "Luke" and other characters with many strokes.
What is width and narrowness
"Width and narrowness" refers to the appropriate arrangement according to the fat and thinness of the font itself. Characters with more strokes should be written thinner, characters with fewer strokes should be written fatter; characters with a left-right structure should be written fatter, and characters with a top-down structure should be written thinner, so that they are appropriately wide and narrow.
What is oblique orthography?
"Oblique orthography" refers to making different arrangements according to the oblique orthography of the glyphs. For example, the character "Peng" is oblique in shape, and the character "party" is orthographic in writing. You can't forcefully twist the oblique ones into straight ones, and write the straight ones backwards into oblique ones, and you should also make the oblique ones right.
What is Pingzheng?
"Pingzheng" is what we often call "horizontal, horizontal and vertical". This is a basic principle of pointillism structure. But it should be noted that the "flat" in "horizontal and vertical" is not ordinary flat, but flat with an oblique tendency. Because human eyesight is not balanced, the horizontal painting is really flat. Due to the illusion of the eyes, it looks like it has fallen to the right. Therefore, horizontal drawings must be slightly slanted, but not too slanted. The approximate horizontal drawing slope should be about 5°-7°. If it exceeds this angle, it is too slanted; if it is less than this angle, it is too flat, which is not good-looking. The so-called verticality means that every straight painting, regardless of the middle, left and right, top and bottom, must be painted very straight, and must not be skewed or tilted (except for the straight left paintings of "door", "亻", "彳", etc.). #Editor's Notes# Well, I don't know much. You can ask Du Niang to check for more complete information. (If you think it’s too much, just focus on the first few sentences while reading *Reexamine*)
4. Basic knowledge of college calligraphy = =, (test paper questions)
1 Fill in the blanks 1. __pen_, _ink_, _paper__, and __inkstone__ are unique clerical tools in my country and are known as the "Four Treasures of the Study".
(16 pages) 2. According to the material of the brush, the brush can be divided into _soft brush_ brush, __hard brush_ brush and _combination brush_ brush. (16 pages) 3. According to the length of the pen tip, writing brushes can be divided into __long-point__ pens, __center-point pen__ pens and __short-point_ pens.
(17 pages) 4. The types of ink are divided into two categories: solid ink (ink ingot) and liquid ink (ink). Among them, solid ink includes _graphite_ ink, _pine smoke_ ink, __ Tong Yan _ ink and __ lacquer smoke _ ink. (17 pages) 5. Rice paper can be divided into three categories based on the materials it is made of: __cotton material__, __clean leather__, and _extra clean leather_. According to the degree of infiltrated water, it can be divided into __raw rice paper_ There are three categories: _, ___cooked __, __half-cooked__.
(pages 18-19) 6. Among the formats of calligraphy works, the vertical format includes __bar screen__, __banner__, __nave_ and other forms, and the horizontal format includes __ Banner__, __Horizontal Plaque__, __Handscroll__, __Album__ and other forms. (Page 35-36) 7. The writing in the Yin and Shang Dynasties is generally called Dazhuan, and there are two main types: __Block Wen_ and __Zhen Wen_.
(Page 86) 8. __"Sanshi Plate"_, _"Mao Gong Ding"_, "Guo Jizi White Plate", and "Da Yu Ding" were once regarded as the "Four National Treasures" by predecessors. (Page 87) 9. __Shiguwen_ is the earliest existing stone-engraved writing. This style of writing is named after the shape of the carved stone.
(page 89) 10. Bamboo slips are authentic calligraphy written in ink before the advent of paper. They are divided into two types: __bamboo slips__ and __wooden slips_. Ink written on silk fabrics was called silk script and was used by the upper class at that time.
(Page 91) 11. Among the Han steles, there are works that use both square and circular shapes and have the best combination of straight and straight, such as __"Huashan Stele"__, __"Cao Quan Stele" or "Liturgical Stele" _ etc., there are those with square strokes and curved strokes, such as __ "Yi Ying Stele" _, and those with square strokes with straight strokes, such as __ "Zhang Qian Stele" __ etc. (page 92) 12. __Zhong Yao_ was later People regard him as the "ancestor of regular script". (Page 94) 13. __Wang Xizhi_ is known as the "Sage of Calligraphy" by later generations.
(page 98) 14. Wang Xianzhi (344-386), who was an official to Zhongshu Ling, was known as __Wang Daling_. His book is as famous as his father's, and he is also called __二王_.
(100 pages) 15. Wang Xun's "Boyuan Tie"_, Wang Xizhi's "Quick Snow and Clear Tie"__, Wang Xianzhi's "Mid-Autumn Tie"__, were written during the Qianlong period of the Qing Dynasty. ***Listed as a precious work of "Sanxi". (Page 101) 16. Zhiyong is the seventh grandson of Wang Xizhi and is known as "___Yong Zen Master__".
His calligraphy is good at all calligraphy styles, especially cursive calligraphy. His calligraphy has been handed down from generation to generation __"Zhencao Thousand Character Essay"___. His calligraphy has twists and turns, is full of charm, and has a wide influence on later generations. (Page 102) 17. Wei steles mainly include four categories: ___epitaphs__, __stele inscriptions__, ___statue records__, and ___cliffs__.
(page 103) 18. The four families in the early Tang Dynasty are ___Yu Shinan__, ___Ouyang Xun__, __Chu Suiliang___, ___Xue Ji__ (page 105) 19 . ___Zhang Xu’s cursive script__, along with Li Bai’s poetry and Pei Min’s sword dancing, are known as the “three wonders” and are the highest expression of the “prosperous Tang culture”. (Page 108) 20. Liu Gongquan, known as Liu Shaoshi in the world, and Yan Zhenqing are also known as "___Yan Liu__", and are also known as "__Yan Jin Liu Gu___".
Liu style characters are represented by ___"Mysterious Tower Stele"__ and __"Shence Army Stele"___. (Page 110) 21. The four families of the Song Dynasty usually refer to __Su Shi___, __Huang Tingjian__, __Mi Fu___, and __Cai Xiang__.
(111 pages) 22. Wang Xizhi’s ___"Lanting Preface"__, Yan Zhenqing's __"Manuscripts for Nephews"___, Su Shi's __"Poetry on Cold Food"___ are respected by later generations as " "Three major running scripts".
(See pages 99, 109, 112) 23. The four masters of regular script refer to __Ouyang Xun___, ___Yan Zhenqing__, __Liu Gongquan___, ___Zhao Mengfu__ (page 115) 24. Ming Dynasty The three representative figures of the Wu clan in the middle period are __Zhu Yunming__, ___Wen Zhengming__, and __Wang Chong__ (page 117) 25. __Deng Shiru___ is a monument known as "the greatest collection of seal scripts" The first person in the school.
(Page 123) 2 Short answer questions 1. What are the "Three Wu Clan"? (Refer to pages 117-118) In the middle of the Ming Dynasty, in the prosperous Sanwu area, a group of famous calligraphers emerged in the world. It was sometimes said that "the world's calligraphy belongs to Wu". They broke through the secular habits, avoided the bad habits of Taiwan and the calligraphy style of the time, and went straight to the Wei and Jin Dynasties. They were known as the "Ming Dynasty Zhongxing" and became the representative calligraphers of the mid-Ming Dynasty. The representative figures are Zhu Yunming, Wen Zhengming, Wang Chong, etc. .
Zhu Yunming came from a well-known family, and his family members were all good at calligraphy. He was extremely intelligent. He learned calligraphy from Xu Youzhen and Li Yingzhen, small regular script from Zhong, Wang and Zhiyong, and cursive script from Huaisu and Huang Shangu. When he integrated them, he developed his own style. His achievements in cursive script were remarkable, and he was known as "the best cursive script in the Ming Dynasty". It is also the embodiment of his unrestrained and unrestrained character that makes his writing majestic, unrestrained and unpredictable.
His famous works include Cursive Script Poetry Scroll, Luo Shen Fu Volume, and Front and Back Chibi Fu Volume, etc. Wen Zhengming was skilled in all forms of calligraphy, with small regular script and running script achieving the highest level of success.
His little Kai Zong Youjun, the cursive calligrapher Huai Su, imitated Su, Huang and Mi in running script, studied Li Zhong Yao, and Li Yangbing in seal script. His small regular script is round, vigorous, elegant, and has its own wind spirit. His representative works include "Li Sao Jing", "Back and Back Chibi Fu", etc.
His running script is mostly inspired by Jin Dynasty calligraphy, especially the "Preface to the Holy Religion", which is elegant, vigorous, and charming. His representative works include "Preface to Prince Teng's Pavilion", "Book of Poems", "Book of Poems of Xiyuan", etc.
Wang Chong, whose given name was Luren and later changed to Luji, was named Yayishanren and a native of Wuxian County. He had little talent but failed in many trials, so he followed Wen Zhengming and others to amuse himself with poetry, calligraphy and painting.
Wang Chong’s small regular script is the most important thing in the world. People in the Ming Dynasty commented that "his books and orders are combined with high moral character, so his charm is extraordinary and elegant, which is completely different from that of the people at that time." His small regular script masters such as Yu Shinan, Zhong Yao, and Er Wang were particularly effective in Wang Xianzhi's style, which is quaint and spiritual. , has extraordinary charm, and his works include "Preface to Prince Teng's Pavilion", "Xiyuan Poetry Volume", "Self-written Poetry Volume", etc.
2. Briefly analyze the "three major running scripts" in the history of Chinese calligraphy. (See pages 99, 109, and 112) Wang Xizhi's "Lanting Preface", Yan Zhenqing's "Manuscript for Nephew Sacrifice", and Su Shi's "Poetry on Cold Food" are respected by later generations as the "three major running scripts".
1. Wang Xizhi's "Orchid Pavilion Preface" was written by Wang Xizhi, Xie An and others in the Orchid Pavilion of Shanyin, Kuaiji, for a meeting to "cure evil spirits" in the ninth year of Yonghe. The stipples in this article are brilliant, the flow of energy is smooth, the spirit is clear and the bones are beautiful, and the style is beautiful and flowing. It is Xi's proud work.
The original work has been lost. Among the Tang Dynasty copies that have survived from later generations, Feng Chengsu's copy is the most recent and authentic.
"Lanting Preface" is a beautiful prose and a masterpiece that embodies the "shangyun" of Jin Shu, with extremely high artistic level. "Lanting Preface" has the following artistic characteristics: First, the brushwork is delicate and exquisite.
"Lanting Preface" mostly starts with volleying to gain momentum and ends.
5. A 100-word calligraphy text must be 100 words
Dengba Mausoleum looking at Dongting in autumn Li Bai
Dengba Mausoleum in the early morning.
Everything is possible.
The bright lake reflects the light of the sky.
Completely see the autumn colors.
How beautiful the autumn colors are.
The world is clear and fresh.
The green mountains extinguish the distant trees.
The water is green and there is no cold smoke.
The sails come out of the river.
Go to the bird-facing sun.
The wind is clear in Changshapu.
The mountains are empty and the clouds are dreaming of the fields.
Look at the glory and cherish the decay.
It is a sad year to read the water.
Beizhu is rippling.
The flow from the east flows from the river.
The people of Ying sing about the white snow.
Yue girls sing and pick lotuses.
I am even more heartbroken after hearing this.
Tears flowed from the cliff.
6. Basic knowledge of calligraphy
Basic knowledge of calligraphy Basic knowledge of calligraphy Calligraphy is one of the traditional Chinese arts.
It is an art of writing Chinese characters with a brush to express the author's spiritual beauty. Its basic requirements are: first, use a soft brush, and second, write Chinese characters with rich images.
Therefore, it has two meanings: one refers to the rules of calligraphy writing, which mainly includes methods such as holding the pen, using the pen, dots and strokes, structure, distribution, etc.; the other refers to the art of expressing the author's spiritual beauty by writing Chinese characters. It uses exquisite techniques and vivid shapes to express the author's personality, taste, education, temperament and other spiritual factors. It focuses on "inner painting".
The fusion of the two forms the art of Chinese calligraphy. Therefore, in terms of the elements of calligraphy, it includes three aspects: first, brushwork, which requires skillful handling of the brush, as well as correct fingering, wrist, body, brush and ink techniques; second, brush gestures .
It is required to properly organize the connection and response between dots and dots, between words and words, and between lines; the third is the meaning of brushwork. It is required to show the writer's temperament, taste, academic quality and character in the writing process.
In terms of calligraphy and style, it is even more diverse and beautiful. my country's calligraphy art has a history of more than 3,000 years. The reason why it has become an art is mainly due to the Chinese people's ability to elevate practical things into beautiful art. It is also closely related to China's unique characters and brushes.
The character of the text is conceived with images and the vertical images convey the full meaning, brewing the soul of the art of calligraphy, while the square shape, brilliant in purpose and quality, constitutes the formal foundation of the art of calligraphy. His tools, "but if the brush is soft, it will be strange and raw", can produce the charm of round and round hidden exposure, reverse and backward, the taste of light and heavy, fat and thin, thick and light, wet and astringent, as well as the rhythm of ups and downs, gathering and spacing.
The continuous, strong and majestic momentum; supplemented by specially produced paper and ink, make the art of calligraphy even more unpredictable. Endless charm.
Calligraphy has not only become a national art that expresses the highest artistic conception and sentiment, but also ranks first among all arts. Calligraphy in China is not only a common practice throughout the world, but has also gone abroad and become a medium for spreading friendship. It is very influential in the Eastern world and has also attracted much attention from the Western world.
Composition refers to the method of arranging and arranging the relationship between words and words and lines and lines in the entire work. That is, the "white cloth" of the entire work.
Also known as "big rules". It is also customary to call the arrangement of dots within a character and the relationship between the arrangement between a character and numbers "small composition".
Zhang Shen of the Ming Dynasty's "Explanation of Calligraphy" said: "The ancients wrote just like compositions with calligraphy. The composition, the composition, and the structure of the final article are consistent from beginning to end.
So it goes: 'One point makes one. The rule of words; one word is the master of the final chapter'". Dong Qichang of the Ming Dynasty said in "Essays on Painting the Zen Room·Critical Calligraphy": "The ancients regarded calligraphy as a major issue when discussing calligraphy, which is why the so-called dense lines are dense.
I saw Mi Chi's small regular script and wrote "Pictures of the Elegant Collection of the West Garden" "Ji", this fan is as straight as a string. There must be no other way to do this. It is just a matter of paying attention to the rules and regulations in Youjun's "Lanting Xu". Whatever you do with your hands follows the rules, so it is a divine product."
It can be seen that the chapter script is very important in a calligraphy work, and the white and white of the words must be handled well when writing. The white cloth and the white cloth between the lines make the dots and dots echo each other, the words follow the trend, and the lines reflect each other. In this way, the spirit can be smooth, exquisite and harmonious, and " The effect of "gold in the words and jade in the lines". There are generally three forms of cloth: one is vertical rows and horizontal rows, the other is: vertical rows and horizontal rows but no columns (or horizontal rows and vertical rows but no columns), the third is vertical rows and horizontal rows, and they may have "cutouts". It has the artificial beauty of "gold picked from the wrong", or the natural beauty of "hibiscus emerging from the water".
Brushwork The method of using a pen for writing and painting. Chinese calligraphy and painting are mainly expressed by lines, and the tools used are all sharp-edged brushes. To make the line stipples of calligraphy and painting rich in variety, you must first pay attention to holding the brush, and master the weight, speed, and direction when using the brush.
Methods such as straight and straight are called "brushwork". Zhang Huaiguan of the Tang Dynasty said in "Yutang Forbidden Sutra: Dispelling with a Brush": The general brushwork, stipple and eight-body painting, is prepared for the character "Yong".
Therefore, Zhao Mengfu of the Yuan Dynasty said in "Lanting Postscript": "Gaijie characters have been passed down from generation to generation, and it has been difficult to use the pen through the ages." The ink method is also called the "blood method".
One said: the method of using ink. The ancients called ink painting the blood of the characters.
Therefore, when writing on the spot, you are very particular. If the ink is too light, it will lose the color of the painting; if it is too thick, the brushstroke will be sluggish.
It is necessary to "enjoy living and talk about splendor."
"Song Jiangkui's "Xu Shu Pu·Using Ink" says: "When writing regular script, the ink should be dry, but not too dry.
Xing and Cao are mixed with dryness and moistness, and moisture is used to obtain beauty, while dryness is used to obtain danger. If the ink is thick, the pen will be stagnant; if it is dry, the pen will be dry. This is also unknown. ”
Bao Shichen of the Qing Dynasty said in "Yi Zhou Shuang Ji Shu Shu Shu Xia": "Painting and calligraphy are based on the brush and formed on the ink, and the ink method is a key to the art of calligraphy." If the pen is real, the ink will sink; if the pen is floating, the ink will float.
... "The style of using ink often differs from time to time and from person to person. For example, thick ink in the Northern Song Dynasty was practical, while thick ink in the Southern Song Dynasty was used flexibly; Liu Yong liked to use thick ink, and Menglou specialized in light ink.
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On the other hand, there are often differences due to different calligraphy styles and paper properties. The second is: the method of grinding ink.
"Study Four Pus·Ink Pu" by Su Yijian of the Song Dynasty. " says: "Grinding the ink is like a disease, cover it heavily and mix it thoroughly without making it muddy. "The ink should be cool when grinding, as coolness will produce light.
The ink should not be hot, as hot will produce foam. Avoid grinding the ink quickly and the ink will be hot.
Li Yangbing also said: "Users Rotating and grinding will not stop for a long time. For a long time, the dust will be polluted, and the glue will die. It's too dull to write. "
Yuan Chen Yizeng's "Hanlin Essentials·Meat Method" said: "The method of grinding ink is to press hard and push lightly, and the operation will be close to the fold. "Do not use inkstone water when grinding ink, otherwise the ink will stagnate and the pen will be stiff. You must use water drops to draw fresh water and temporarily consider it." "
Structure is also called "knot", "frame" and "structure". It refers to the arrangement of the dots and dashes of each character and the layout of the situation.
Chinese characters are shaped, calligraphy It is also the "Xue Xue" (Kang Youwei of the Qing Dynasty), so the structure is particularly important. Zhao Yufu's "Lanting Postscript" of the Yuan Dynasty states: "Calligraphy is based on the use of brushes, and the use of handwork is also required. ”
Various fonts of Chinese characters are formed by connecting and matching dots and dashes. The strokes are long, short, thick, thin, bent, raised, contracted and extended, and the radicals are wide, narrow, high and low. , 湹, and 正 constitute the different shapes of each character. To make the strokes of the characters appropriate, decent, and even, it is essential to study their structure.
As Feng Ban of the Qing Dynasty wrote in "Pure Yin." It is said in "Shu Yao": "First learn the jianjia, what the ancients called knot characters; once the jianjia is clear, then learn to use the pen. You can see the stone tablet on the shelf, and the pen must be authentic.
The word knot is from Jin Dynasty.