The writing format of ancient poetry from right to left

The writing format of ancient poetry from right to left. I believe many people are particularly interested in ancient poetry and want to learn how to write ancient poetry. So everyone knows what is the correct format for writing ancient poems from right to left? Friends who are interested in this, let’s take a look at the relevant content. The writing format of ancient poetry from right to left 1

The writing format of ancient Chinese calligraphy has always been "from right to left, top to bottom" without punctuation. Start writing from the main text and continue to the end without using spaces. If there is enough space at the end of the article, you can add your signature. The signature should include the title of the excerpted ancient poem and its author (usually a tribute to a certain poem or poem), as well as your name and the date of the excerpt.

If there is insufficient space, you can omit the title of the poem appropriately, that is, record a certain poem or poem in tribute, and you can also omit the date of writing. The title and author are generally not omitted, otherwise it will not be a complete work. You can also put the signature on a new line, slightly smaller than the main text, and start writing one and a half words below the main text.

There are 7 types of calligraphy formats, namely Dou Fang, San Kai, Dui Yuan, Zhong Tang, Banner, Couplet and Fan.

1. Dou Fang: a style of Chinese calligraphy and painting. Shaped in a square shape. Usually four-foot rice paper is cut into two pieces, two feet high and two feet wide. You can also cut the four-foot rice paper into eight pieces, which is called "xiaopin doufang" or "doufang Xiaopin". Doufang is a work of squares written in vertical lines. The written content is generally four to six lines.

Because there are many rows and columns, great emphasis should be placed on the size, opening and closing, echoing and rhythm changes of the top, bottom, left and right when laying out the chapter. When creating, pay attention to the primary and secondary relationship between the main text and the inscription. The inscription is generally smaller than the main text and should be natural and vivid. The signature can be written below the last line of text, and there should be room for layout.

The bottom of the paragraph is generally not flush with the main text to avoid rigidity in form. You can also occupy another line or two lines after the main text, and the top and bottom should not be flush with the main text. The seal should be smaller than the character and should be separated by more than one character.

2. Three openings: a style of Chinese calligraphy and painting. Rectangular in shape, varying sizes. If four feet of rice paper is cut into three parts, it is called four feet and three parts. If five-foot rice paper is cut into three parts, it is called five-foot three-part. By analogy, the same three-foot-long painting has different sizes. A four-foot three-foot painting is generally a three-foot screen (actually it is two feet seven inches, one-third of the eight-square-foot market). Five feet three squares is one-third of twelve square feet, and the area of ??each square is four feet.

3. Dual frame: A style of mounting Chinese calligraphy and painting. Usually two paintings are hung in pairs. For example, calligraphy pairs are called "character pairs" or "couples". There are "painting pairs" in Ming and Qing paintings, which are two screen strips of equal size hung in pairs. There are also hanging scroll paintings in the middle of the hall, with "pairs of characters" hanging on both sides, or hanging scrolls of calligraphy in the middle, and "pairs of paintings" hanging on both sides. The writing format of ancient poems from right to left 2

English mixed with Chinese characters

The Latinized letters of the West are written from left to right, so all foreign books arranged with Latin letters are It's horizontal. "Foreign code" cannot be translated into meaning by code. It requires more than two letters to form a phrase, and vertical foreign characters cannot spell words. Since foreign codes cannot be arranged vertically, when Latin letters appear in vertically arranged Chinese books, they must be turned horizontally, otherwise the foreign characters will not be "compatible" with Chinese characters. Chinese characters can have independent meanings, so they can be arranged horizontally or vertically. When arranged horizontally, it can also adapt to two different directions of order from left to right or from right to left.

The picture shows Zhang Xu's cursive script "Four Notes on Ancient Poems"

Chinese characters are written from top to bottom, from left to right. The endings of most Chinese characters are directly below and to the right of the character. Therefore, writing Chinese characters, especially calligraphy, is most suitable for vertical lines. This is the most smooth and coherent way, and it is easy to "flow Qi". Especially cursive writing.

Another reason for deciding to write Chinese characters vertically lies in the initial writing conditions. In ancient times, when there was no paper, people would carve or write on bamboo or wooden slips, and tie the slips with ropes or leather strips to form "slip books". When reading, the scrolls written vertically should be unfolded horizontally, and the two ends of the scrolls should be held in the reader's left and right hands; if the scrolls are written horizontally, the scrolls must be read horizontally. When reading, the booklet is spread up and down, and the reader's hands have to hold the booklet up and down, which is contrary to physiology and very inconvenient. In addition, in ancient times, there were no tables, and they were not made on a large scale. Instead, they were mostly made of rulers and tablets. When writing, the left hand is holding the slip and the right hand is writing, which complements each other; if the slip is held horizontally, the left hand will have difficulty maintaining the balance and stability of the slip under the pressure of the writing brush, and writing will inevitably be difficult. The situation can be imagined.

It can be seen that the structure of Chinese characters and the initial writing conditions are the causes of vertical writing of Chinese characters, and vertical writing determines the vertical layout form of publications and printed matter.

"Leek Flower Tie"

History continues to develop, and science and technology continue to advance. Paper was invented successively, and convenient writing conditions such as tables and chairs were provided. However, the power of habit is huge. Ancient and modern literati did not change the text into horizontal writing because of this, and the use, publication and printing of text were still vertical. This situation lasted until the 1950s.

Tan Kah Kee's calligraphy

In June 1950, Tan Kah Kee submitted the proposal of "Chinese written horizontally from left to right" at the second session of the First National Committee of the Chinese People's Political Consultative Conference. proposal, this proposal received considerable attention. Later, cultural celebrities such as Guo Moruo and Hu Yuzhi also wrote articles in support. On January 1, 1955, Guangming Daily changed to horizontal layout for the first time. In that year, 13 of the 17 central-level newspapers were changed to horizontal format. On January 1, 1956, the People's Daily, the official newspaper of the Communist Party of China, was also changed to horizontal layout. Since then, newspapers and periodicals across the country have followed suit, and book publishing has followed suit.