First, the strictness of the grass method
Cursive writing is very rigorous, so writing cursive writing is like "dancing in chains". The cursive technique has been established for thousands of years in the history of calligraphy, which can be traced back to Cao Zhang and Seventeen Posts.
Learning cursive script has one more lesson than learning other characters: the specificity of characters requires accurate structure and cannot be arbitrary. Beginners can read more of Zhi Yong's True Grass Thousand Characters and Book Score and Seventeen Posts. These long cursive classics are helpful to master cursive methods.
Second, the upper and lower characters are related, and the momentum of the characters runs through.
"Book Score" said: "Boying is not true, and stippling is messy; Yuan often doesn't grass, making it turn vertically and horizontally. " Use a proper pen, there should be a clear distinction between stippling and tying, and it should not be messy. In particular, Dacao uses a variety of pens, and all kinds of other calligraphy styles can be used to start and close pens, with uneven sizes.
Third, step by step.
Only when you have studied for a certain period of time can you learn grass, otherwise you will have nowhere to go. The change of composition is the key to cursive script, which requires aesthetic and literary accomplishment to show one's talents inadvertently. But you should also take good care of your pen and don't doodle. It is best to see the shadow of the model you have learned at a glance in your works. The big grass is intended to write first, and the small grass can write first.
At the same time, cursive learning should not be rushed. At present, we can learn from the popular calligraphy styles and methods of the National Exhibition, but we must have our own cursive road, from ancient times to the present.
Fourth, the embodiment of cursive calligraphy.
In addition to brushwork, calligraphy and composition, cursive script also pays attention to ink painting. Ink painting is divided into shades of dry and wet ink from beginning to end.
Only by making full use of the characteristics of modern rice paper (especially raw rice paper) and jumping out of the traditional concept of unified use of pens in the center, can we flexibly use the characteristics of writing brushes, show the charm of ink color in turning, lifting and pressing, and reflect the skill from an aesthetic point of view.