What kind of calligraphic lines are good lines?

To put it simply, there are four points of good calligraphy lines, the first is the toughness of the line, that is, the strength of the pen, each stroke has its own expressiveness, the second is the speed of the line, the speed can affect the thickness of the line, so that the font has a rhythm, the third is the pen, the line with the pen is atmospheric and textured, the fourth is the self-style, not completely copying or the same, has its own characteristics, such calligraphy lines are good lines!

When practicing calligraphy, you should do it in the center of the pen and keep the brush perpendicular to the paper. After this stroke, the lines on both sides of the calligraphy are flush, which has a fuller and more powerful feeling, and looks more three-dimensional.

As long as this principle is adhered to, then the lines written are not as bad as **.

The calligraphy is really grassy, only look at the lines, and the characteristics are different; In addition, factors such as writing tools and calligraphy style have a direct impact on the shape of the lines and bone strength.

Good calligraphy is wonderful, the lines are superb, on the contrary, the bad ones are the same, the lines are often weak, or clumsy and vulgar, or novelty, and cannot stand the test of time.

Both fluent and powerful, Liu Chang is embodied in the calligraphy in one go, the power is reflected in the frame, that is, to write this word must have wind bones, just like a house you must have the support of steel bars, this house has strength, its fluency is like a house, you have to decorate, it looks beautiful.

Generally speaking, textured lines can evoke aesthetic associations, so choose a specific shape of the line to express the specific text content, coupled with ingenious chapters, it may be a masterpiece with unified content and form. For example, the thick and coarse thin lines are suitable for expressing the artistic conception of the "Great Wall of Steel", the soft and tenacious lines are suitable for the artistic conception of "drizzle and spring breeze", the boring and condensed lines are suitable for the artistic conception of "the cold forest is gradually clearing, and the tiger is roaring and the ape is crying", otherwise, it is difficult to create a special charm and charm of calligraphy works, and it will not brew a simple or noble or beautiful or domineering style. In short, the pen is practical, the ink is thick and full, the pen is steady and astringent, and the resulting line effect, whether thick or soft, will give people an obvious sense of quality.

The so-called radish greens, each has its own love. As for what kind of calligraphy line is considered a good line, it depends on everyone's preference, just like the lover's eyes, there is no absolute standard for beauty. A thousand people have a thousand mouths, and the arguments vary.

But in my eyes, the calligraphy lines are smooth, natural, free to wield, the pen is powerful, and the strokes are clearly outlined, which is naturally a good line.

In fact, it is quite one-sided to see a person's personality from calligraphy, especially from the lines alone. Hard pen calligraphy and brush calligraphy are not the same. Some people write very well with a brush, but calligraphy with a hard pen is not very good, which is also a very common thing.

As for the calligraphy lines to see a person's character, you can look at the following points: urgency, severity, cleanliness, glyphs, etc.

The power, the variation, and the final text content fit the overall context of the message. Personally, I think the beauty of the lines is mainly reflected in cursive. There are thousands of changes, and the Tao is natural. But it is not confined to pictograms, but transformed into verve. (Personal understanding, I hope you will not hesitate to correct.) )

In fact, it is difficult to have a unified evaluation standard when talking about lines. Talking about dotting, turning, lifting, and slowing down are all related to knotting. It can only be said that good lines are a cornerstone of the power and charm of words.

Like a mountain, like a river, meandering, natural and smooth.

The three elements of the beauty of calligraphic lines are as follows:

The basic elements required for calligraphic lines, from the standpoint of aesthetics and formal beauty, can be summarized into three aspects: strength, thickness and rhythm. A line of beauty should have these three elements:

The elements required for calligraphic lines, from the standpoint of aesthetics and formal beauty, can be summarized into three parts: rhythm, roundness, and pen power. In terms of special terms, they can be summarized into three senses, namely rhythm and three-dimensionality.

No round and thick lines are trapped in monotonous and flat. The so-called "round thickness" is a concept of a body rather than a plane.

When the calligrapher moves the pen, the brush forms a state in which the tip of the pen runs in the middle line, that is, "the center of the pen", so that the center of the line is the bone, and the surrounding is the meat, and the bone leaks the code in the flesh, and the meat is attached to the bone. "This is the bone of the line.

Only when the bones are established, the lines are full, there is vitality, there is a sense of three-dimensionality and relief, so as to show the strength of fullness.

The lines are tiled on paper, but in the tiling, due to the establishment of bones, they constitute "cotton wrapped iron", that is, three-dimensional beauty is shaped on the plane, and two-dimensional space becomes three-dimensional space. Or use the "cone to draw sand" as a visual illustration, using the tip of the cone to draw on the sand, the traces are naturally the deepest in the middle, and the two sides are gradually shallower. With the center of the pen, the ink seeps into the paper is also Sotan.

This kind of concealment and subtlety is also the basic characteristic of Chinese art.

Calligraphy is not the art of lines, and lines are geometric concepts that are not enough to summarize calligraphic strokes. In the Tang Dynasty, there was a "pen and hair theory", the pen into the hair, then the situation is the same body, the stroke is based on the creation of the existence, the situation is born, the potential is formed, the gesture and the painting of the word are unified on this basis, and then into the ancient law. If you use lines to summarize the strokes, then the deep things will be confused, making the calligraphy clay in a mechanical form, and the quality of the strokes will not be able to reach the extreme.

The concept of line is a big failure in modern calligraphy theory! The concept of calligraphic lines has never appeared in ancient calligraphy.

Force through the back of the paper, the center with a pen,

Essentially, you need to press the ink shape (you need to look at the post more).

Write more, practice more, and there is no other way.

<> ways to write a good book.

1. Know how to write calligraphy.

As mentioned earlier, the strokes of the line script are not exactly the same as the regular script, and some of its strokes can be "brushed over", but in the process of "bringing", it is necessary to abide by a certain penmanship. The penmanship of the line of calligraphy omits some penmanship in the regular script, such as the back of the pen, which can be replaced by a sharp pen in the line of calligraphy, and the pen of some strokes can also be replaced by a sharp pen, and there is no need to do the action of closing the pen and returning to the front.

The main brushstrokes in the book include: center, paving, reverse in and out, lifting, hiding front, etc. In fact, this is also the basic process of writing a Jianfeng stroke, but it also includes the above-mentioned brushwork in the calligraphy.

2. Express a sense of agility.

Agility is the main feature of the book, if the line is too rigid, it will become a regular script, and it can not be called a book. Where does the sense of agility come from? One is to learn to use wrist strength.

When writing, you can't be too stiff, the problem of stiffness is mainly on the wrist, usually to develop a habit of using the wrist, learn to use the wrist, do things with skill, writing is the same, if you are idle can practice such a habit in the air. The second is to catch the breath on the basis of dot painting.

The dot painting of Xingshu is originally a dynamic feeling, and every word must show this atmosphere, and the breath is there, and the style is also there. For example, "flowing clouds and water" refers to the breath. The two dot paintings and the two words must be connected, so that the breath will come alive.

3. Read more posts and copy more.

Reading the post, is to learn the predecessor's penmanship and glyph process, through the post, can increase our sensory ability, so that people's brain thinking to follow up the predecessor's calligraphy. Copying is also a process of enhancing practical ability, through the writing at hand, let one's cognitive ability into the ability to correct and omit writing, in the long run, you can achieve the effect of both hands and eyes.

4. Glyph principle.

In addition to dot painting, there is also its glyph, the dot painting is exquisite, and the glyph is in place, you will think that the book has reached a very beautiful state. How to grasp the glyph characteristics? One is the difference in size.

No matter which ancients are rotten, including Wang Xizhi's calligraphy, they did not write each character the same size, which is a sign of distinguishing good calligraphy from bad ones.

The second is the principle of retraction and release. It is impossible for us to write every word very tightly or very loosely, and only when it is free and just right can it be considered to be wonderful. The third is sparse and dense.

In the writing of calligraphy, the dense strokes should be dense, and the sparse ones should be opened, which is in line with the laws of nature.