how to write qi in the running script

question 2: how to write qi in the cursive script

question 3: how to write the words "calm" in the running script of Chinese characters has been written by many calligraphers in past dynasties. Here are a few examples. As shown in the figure:

written by Mi Fei:

written by Wang Xizhi:

written by Wang Xianzhi:

written by Zhao Meng:

written by Ou Yangxun:

written by Jing Shijiang:

There are many more, so I won't cite one example.

question 4: how to look at the spirit of calligraphy? there is an idiom called "vivid spirit", which is most suitable for appreciating calligraphy works. Good works have a strong aura, which is the reason that attracts your attention. What is this aura? There are some things in detail.

first, the overall macro has momentum, the overall white cloth is appropriate, and it is harmonious and unified.

second, the connection between words is natural and orderly, and they take care of each other, and the passage is like flowing water. When it is done, it will be done, and when it is stopped, it will stop.

3. Take care of each other between lines and make them orderly.

fourth, as an individual character, the brushwork is in place, the structure is beautiful and the deformation is reasonable.

As the saying goes, a word is like a person. Only when you have a certain calligraphy skill and can master calligraphy skills can you achieve vivid charm and personal temperament, which is exactly the "qi" in calligraphy.

Question 5: Photo, bottom, qi and ball; These characters were written in graphics tablet in FLASH. For reference only.

question 6: how to write "peace of mind" in Chinese characters.

question 7: what is the "qi" in calligraphy art? In the forty-two chapters of Laozi, there are: "Tao gives birth to one, life to two, life to three, and life to three. Everything is negative and holds yang, and it is thought to be harmonious. " Zhuangzi's Journey to the North: "When people are born, they gather together. If you gather, you will live, and if you disperse, you will die. " By the Han Dynasty, Dong Zhongshu regarded Qi as the intermediary of "the feeling between heaven and man". Wang Chong further believes that everything in the universe is "born with gas", and different temperament, character and thought will be produced by different innate qualities of people and the thickness and nature of their original vitality. Because the category of "Qi" is all-encompassing, the concept of Qi can be seen everywhere in China's ancient books. Whether it is natural, social phenomena, human physiology, pathology or even spiritual morality, thought, religious art, philosophy, etc., all contain different words and explanations. For example, weather, local atmosphere, mountain forest atmosphere, cold, summer heat, yin, yang, dryness, moisture, liver, evil, righteousness, menstruation, happiness, anger, aura, delicacy, epigraphy, temple, Shan Ye, bookish, husband, boudoir, village, morale and refinement. Everything is born of qi, and everything contains qi. It shows the aesthetic function of venting more in artistic creation and artistic aesthetics.

Qi in calligraphy

Qi in China's artistic aesthetics is a deep aesthetic with life connotation. It was first seen in Yue Ji, which believed that music originated from the qi of heaven and earth, and the qi of music works was induced by the qi of human body. Cao Pi first introduced Qi into literature: "Literature is dominated by Qi, which is clear and muddy, but can't be caused by strength ..." It opened the precedent of China's theory of "nourishing Qi" in literature and art and the aesthetic theory of works style; Liu Xie's "Wen Xin Diao Long" is a very important work on the systematic study of qi harmony in the history of Chinese aesthetics. In later literary theories, Qi was mostly introduced into aesthetics. Sheikh's Paintings, Wang Sengqian's Praise for Writing and Yu Jianwu's Calligraphy all put forward the aesthetic thoughts of charm, taste and spirit. In calligraphy, there are many contents, such as He Shaoji's thought of combining nourishing qi with true nature, and Liu Xizai's overall aesthetic view of combining yin and yang.

Qi in calligraphy works

Qi is the source of life of artistic works, which is inextricably linked with the image of calligraphy works-dotted line, the mental state expressed by calligraphy itself, and a virtual realm of life of works composed of Qi. Calligraphy works lack qi and become the body of Chinese characters with brush. For example, Yao Nai said: "The words of the Jews are also filled with anger. Although they will last forever, if you set yourself up and talk about it, if you don't have anger, you will accumulate words." (Answer to Master Weng's Book) Tang Cai Xizong said in the Book of Dharma: "Every word must be strong and vigorous, and it is refreshing and has a tendency to fly ..." Liu Xizai also said in the Book Outline: "Books should have both yin and yang, and generally be calm and depressed, and yin is also; Strange and unrestrained, Yang also. Gao Yun is affectionate, firm and heroic, and it is indispensable to be a book. " It can be seen that "Qi" is a life state and vitality aesthetic of calligraphy works. "Qi" is manifested in the creation and aesthetics of works from organic to functional, from appearance to connotation, and from form to spirit.

Specifically, we can feel the existence of different "qi" from ancient calligraphy works.

For example, Wang Xizhi's book is full of truth, and the spirit of different law posts is different. Preface to Lanting is bookish, demoralized and talented; Aunt's Post and Cold Cut Post are archaic; Hang's Post and Avenue's Post are extraordinary; De's Post, Er Xie's Post and Kong Shi Zhong's Post are impulsive, genuine and enlightening. Yan Zhenqing's book has the spirit of a husband. "Sacrifice to my nephew" is full of grief and indignation, and "Fight for a seat" is full of awe. Mi Fei's calligraphy is refreshing, heroic and heroic. Dong Qichang's calligraphy has a delicate flavor. Zhao Meng's and Xian Yushu's calligraphy are full of vitality. Song Huizong's thin gold book has the air of a talented woman in a boudoir. "Zhang Qianbei" and "Ritual Monument" have the spirit of a temple. Ode to Shimen, Yang Huai Biao Ji and Lun Jing Shu have Shan Ye flavor. Shi Ping Gong and Yang Dayan are full of gold and stone. Wang Wenzhi's calligraphy is full of makeup. Master Hongyi's calligraphy is quiet. Lin Sanzhi's calligraphy is like a sage. Wait a minute. The study of steles is full of gold and stone, while the study of posts is full of books. We all have different aesthetic feelings when we appreciate the rubbings of past dynasties.

"Qiyun" in calligraphy art

"Qi" existed in Oracle Bone Inscriptions, but "Yun" appeared later in the Han and Wei Dynasties. In Cai Yong's Qin Fu in the Eastern Han Dynasty, there is a saying that "the complexity of strings is suppressed, and the elegance is revived". Without complicated sounds, harmonious music will be pleasant to listen to. Cao Zhi has "Listening to the Clear Rhyme of Ya Qin" in Fu on White Crane. Xu Shen "... > >

question 8: how to change the word "student spirit"? I like running script, which is particularly elegant. Your handwriting should not have its own style.

Your handwriting is neat, which means that you have a certain foundation. You should practice stroke by stroke before writing running script, and then writing running script will be smooth.

Personally, I suggest you write according to the running script copybook first. I used the Si Mayan running script copybook about 7.8 years ago, which is quite good and has a simple and atmospheric feeling.

if you persist in writing for a period of time, you will inevitably have your own style characteristics, which are elegant, carefree, atmospheric and soft. . . It's up to you. Remember, stick to it and you will get something! Wish you success!

question 9: the style of qi circulation in calligraphy is quite empty. If we want to implement it, I'm afraid it's too thin and incomplete. I don't know much about the mystery, but according to my personal opinion, I hope it can attract more attention. Feng Zikai once said: If the word is low on the left and high on the right, there will be an oblique trend, and if the word is folded, there will be an angle. If the angles of each fold are consistent, there will be a neat beauty. If you enter the advanced stage, the angles are roughly equal, but slightly different according to the word. According to Mr. Feng's theory, when writing words in rows and columns, we should sacrifice the ego and take care of the overall situation, and we should not write bigger words just because they are well written at home. A blank piece of paper, according to its size, has an estimate. It is not good to write too much in front and not enough in the back. Creation is like taking pictures. The level is determined by the angle of view and the aperture shutter used by each person. Before writing, you should first think about what the work means and what feelings you want to express. When the feelings arrive, many things naturally show up. This show also reflects your writing level, even your personal level. Now many so-called exhibitions, many people write for the sake of writing, and write for the sake of exhibition, which becomes copying books. If you express yourself well and brilliantly, it's called vividness and fluency, and it's called penetration. As for the style of qi in calligraphy you asked, I think it is equivalent to the singing style that expresses the connotation of songs in singing. This style varies from person to person according to their expressive ability. For example, Li Daimo makes good use of rough male voice to express meticulous feelings. I understand it so well, and I don't know if it's right. If there is any misunderstanding, please correct it.