question 2: there are several ways to write hundreds of characters, including Oracle Bone Inscriptions, bronze inscription, big seal script, small seal script, official script, running script, cursive script and regular script
question 3: how to write a cursive script with four characters, as shown in the figure below
question 4: how to write a hundred characters in Wang Xizhi's running script version, hoping to adopt it
question 5: how to write a good running script? Running script technique
Running script has both the characteristics of regular script and cursive script, but it is by no means certain that you can write beautiful running script by writing regular script well. As an independent script, running script has its own characteristics in its development.
To learn running script well, you need to go through a special copying training to master its brushwork and the law of writing.
We introduce the technical characteristics of running script from two aspects:
The brushwork:
Follow the trend: unlike regular script, running script is no longer required to go backwards and forwards, hiding the head and protecting the tail. However,
put pen to paper and went in with the front, and the pen center walked, and most of the pens were taken out with the trend, or involved in writing, or hooked
to pick out the front. No more back to the front. So many strokes have changed. The following page.
most of these strokes are exposed. The brush gesture is obviously smooth. It also makes the running script more curved
strokes, and the strokes should not be too straight, which increases the sense of stippling and makes it not stagnant. These
changes in brushwork naturally speed up the writing.
pointillism echoes: since the calligraphy is no longer a slap in the face, but mostly a pen tip is raised, it forms a hook and a pick of pointillism, that is, when the last pen ends, it is brought down with the trend, and the next pen is naturally taken over, which makes the pointillism
disconnected and the pen is disconnected, resulting in an obvious relationship of looking forward and echoing.
Obviously, these condescension and echo make the font more lively and interesting.
Tie-string leading: the tick between the dots and paintings makes them look around and respond. Sometimes, this kind of response is mentioned through the brush stroke to write
travel threads, which are connected to form two or more strokes, which are written continuously in one go, making the words appear coherent and
chic. For example,
Generally speaking, the inherent strokes of every character are heavier, and the connection between two paintings is lighter, but it can't jump completely, otherwise it will be dull and dull. The effect of tying thread is one of the main features of running script, but < P > should be used properly. It is a taboo in running script writing to blindly entangle and break, but it is self-defeating, forming the disease of being weak and slippery < P >. A calligrapher once said that "connection and disconnection have different effects, and it is easier to connect than to break, so < P > it is necessary to know when to break". Therefore, it's another important feature of running script to distinguish their different functions by separating the string-tied ribbon from the stippling echo.
Abbreviation and ellipsis: As mentioned earlier, Lian Lian can write two or more strokes into one stroke, which has actually played a role of
simplification and accelerated the writing speed, but its original strokes have not been reduced, only that there are ties between the strokes
and they do not exist alone. In the running script, it is even more simple, that is, simply combine the original stippling and form a unique writing method in the running script. For example,
the middle four vertical points and the lower four points of the word "Wu" are replaced by a set of connected vertical strokes, which not only keeps the appearance of the original word
but also simplifies it. The rest of the words also formed the present writing method of
in this way. Sometimes, for the convenience of calligraphy, the original stroke order can even be changed when writing the running script.
For example,
Change of retraction: Compared with regular and rigorous fonts such as Kai, Li and Zhuan, the running script has a feature similar to that of cursive script. That is, it can adjust its font and stroke shape < P > at any time according to the needs of composition and the characteristics of a word. For example, the characters in Wang Xizhi's Preface to the Orchid Pavilion, such as
can be restrained and indulged, and can be stretched and retracted at will, so that it can be made long, such as
making it flat, such as: this is the characteristic that the running script can be collected and released.
avoiding the circle from the square: the regular script has more squares than circles, and the folding parts are mostly squares, that is, the book with Zhao Meng's circle turning as the main part
also reveals the square meaning when writing, which is undoubtedly necessary and makes the words increase to a certain extent. Running script, on the other hand, follows the trend
and changes endlessly. It is flexible and vivid, and can be used by Fiona Fang. For example,
Therefore, I noticed the changes in Fiona Fang, and made it blend naturally, so that the writing effect not only has the strength of Fang Bi, but also has the fluency and agility of a round pen. If you bend it blindly, it will be dull and stiff, while if you turn it purely in a circle, it will be < P > tacky and weak. In short, you should observe more in your study and think more in your creation.
Re-pressing and lightly lifting: Some strokes in regular script, such as turning the stroke back and reversing, have been
no longer used or rarely used in running script, and more used are the use of homeopathic lifting and pressing. All the details need to be
collected and lifted lightly, which is a little faster. For the heavy parts, you need to press the pen again, and the speed is slightly slower. Of course, the alternation of stroke
light and heavy thickness should have a reasonable ups and downs process, and it should not be ups and downs, and it should be made self-
. Lifting and pressing can be seen almost everywhere in the running script, and the changes of lifting and pressing within one word, such as
in the preface to the collection of words and holy teachings, should also be different in a painting, such as
as for the light and heavy layout that appears according to the needs of the composition within an article, it is also common in the running script works. Calligraphers of all ages have their own experiences, and we can appreciate the wonderful use of lifting and pressing in the writing of
running script by carefully tasting the later works.
lucky ... > >
Question 6: The feeling of calligraphy is about 2 words.-The experience of learning calligraphy
I have been practicing calligraphy for about ten years. I came to the examination room because I like the art of calligraphy and want to feel the beauty and the artistic charm of ink lines and font structure. To improve my quality and spread the beauty of calligraphy to more friends, I choose calligraphy to study.
I know that if you learn from calligraphy, you can write in many ways. For example: the structure of words, the layout of writing, the historical origin of rubbings, the ancient and modern calligraphy theory … But at the moment, I feel that calligraphy is not just a technique, it is an artistic form that embodies and experiences beauty. Through the carrier of calligraphy, creators and appreciators gain beauty from each other. And these different levels of beauty reflect each other's cultivation and state of mind. I want to describe my experience in calligraphy learning from two levels. That is, the artistic beauty of calligraphy and the realm cultivation of calligraphy. The following are some of my superficial calligraphy learning experiences.
the artistry of calligraphy
Art is the creation of human beings. Calligraphy works are practical and expressive. From hieroglyphics to cursive scripts, our Chinese characters have undergone a series of abstractions. The primary purpose of the ancients' reform of calligraphy style is practicality and convenience. There are inheritance and innovation in the evolution of calligraphy. Creativity is one of the driving forces for the development of art. Vertically, the five styles of calligraphy, namely, seal script, official script, model script, line script and cursive script, are related and have great differences. Each style of writing has different rules. Horizontally speaking, each kind of book has different styles. As far as regular script is concerned, the most famous styles are Yan Ou Liu Zhao. Running script has running script and running script. The horizontal and vertical development of calligraphy and fonts has greatly enriched the art of calligraphy. From a practical point of view, the style of writing and font embodies a kind of standardization. For example, learning to write is, of course, choosing a good template for copying. Good templates are inherited as norms. This eliminated some relatively poor fonts. Therefore, China's calligraphy has created some brushwork techniques and shelf structures from the perspective of practical aesthetics. Although these feel relatively dogmatic, they provide some basis for us to write and appreciate calligraphy well.
calligraphy is an art. Art not only expresses content, but also expresses some information other than content. I like Yan Zhenqing's "A Manuscript for the Sacrifice of a Nephew". The style of Yan characters is magnificent. Embodies the spirit of the prosperous Tang Dynasty. We know that this memorial manuscript commemorates the nephew of the calligrapher, and the author was fighting the rebel An Lushan as the leader of all heroes. His nephew was killed in battle with the rebels. At this time, the author has three emotions. The grief of losing my nephew, the hatred of the rebels, and enough confidence in defeating the rebels. These feelings are all pinned on this famous manuscript, and they are also reflected in the calligraphy artistry of the manuscript. We can feel the Wang Yang wantonness of his feelings from the contents of his masterpiece and his calligraphy. It is no exaggeration to become the "second running script in the world". It is through the practicality and expressiveness of calligraphy that the artistic creativity and artistic emotion of calligraphy are promoted. Through the creation of calligraphy and appreciation of excellent calligraphy works, the artistic effect of mutual communication is achieved.
Understanding the beauty of calligraphy
Beauty is a feeling. In calligraphy, different styles and fonts reflect different kinds of beauty to a certain extent. "Yan Qin Li Bei", I feel the beauty of heroism. The word is not big, but it is full and substantial, like a vigorous warrior of the Tang Dynasty, dignified and sincere. Ling Fei Jing, a book written by the Tang people, gives people a beautiful feeling, like hibiscus out of water. And the wild grass in Zhang Xu has the dynamic feeling of dancing. Some calligraphy works use dry pen, which gives people the beauty of vicissitudes. Like an old tree, it has weathered the wind and frost. Although the branches have all kinds of refutation, it still embodies tenacity in the dry pen ... People appreciate different beauty and bring different feelings of beauty.
The relationship between calligraphy and mood
Calligraphy is really practiced. In the Yuan Dynasty, Zhao Ziang wrote thousands of words every day. And there will be feelings in the process of practicing calligraphy. Regardless of extroversion or introversion, as long as you pick up a pen, you must integrate your heart with your book. Modern society is very impetuous and full of temptations. Engaged in a lot of things. If there is a little distracting thoughts in calligraphy creation, it may affect the charm of calligraphy works. Wang Xizhi's Preface to the Lanting Pavilion is the supreme among running script works. I think that the literati in Wei and Jin Dynasties had a kind of freedom and a kind of natural liberation. The Seven Sages of Bamboo Forest recited poems and couplets in Huiji Mountain, visited the landscape, and had a drink and a talk. Without this kind of mood liberation and relaxed mood, there would be no preface to the Lanting Pavilion, which is a famous work throughout the ages, and there would be no "the best running script in the world". Although I can't see the original work of Wang Xizhi, I can vaguely feel a kind of carefree feeling that the author wants to express from the preface to the Dragon Pavilion written by Double Hook. This feeling has been passed on through calligraphy for more than 1 years. And pass it on forever. What kind of heart ... > >
question 7: how is calligraphy refined into a composition? 2-word calligraphy is the essence of Chinese characters. In the calligrapher's pen, they can produce endless changes, or they are as tall and straight as peaks, as clear as streams, as vast as the sea, or as slippery as grease. They themselves have a kind of wisdom power, an imaginary world, where you can fly and gallop freely.
Since we started practicing calligraphy in the fifth grade, we have really learned a lot, and many students have really beautiful handwriting!
when I started practicing calligraphy, I was impatient and thought, I will not be a calligraphy teacher in the future. Why do I practice calligraphy so well? Besides, it's so tiring to hang your arms when you write calligraphy. Plus standing up, then I won't be a "coolie"? Therefore, every time I hand in my calligraphy homework, I always get a "poor" every time, and the best one is considered a "good". That's why I lost confidence in calligraphy.
But later, when the teacher often read the list of students who got "excellent", there was always no me, so I felt that others could write well. How could I write badly? I shouldn't give myself up. So, I gave up the idea of giving up on myself. Every time the teacher assigns homework in class, I always copy the words on the copybook first and then dip them in ink with a brush, so that the words will be written straight.