Is Xingshu and cursive considered to be standard Chinese characters?

Xingshu and cursive script belong to calligraphic fonts.

The "General List of Simplified Characters" includes 2,274 simplified characters and 14 simplified characters such as 讠 [訁], 饣 [飠], 纟 [糹], 钅 [釒], etc., which streamlined the number of characters in the Chinese character system (many characters were merged when they were "simplified", such as the valley of rice and the valley of the valley, which were originally two characters) and the strokes of many characters. Non-standard characters mainly refer to: traditional Chinese characters.

and variant characters (Note: "Law on the Common Spoken and Written Language of the People's Republic of China".

Article 17 stipulates the "special" circumstances under which traditional Chinese characters and variant characters are allowed to be retained or used: 1cultural relics and monuments; 2.

variants in surnames; 3.calligraphy, seal carving and other works of art; 4.handwritten characters in inscriptions and signboards; 5.

It is necessary for publication, teaching, and research; 6.Special circumstances approved by the relevant departments), two simplified words.

In 1977, the Second Simplified Plan for Chinese Characters (Draft) was promulgated, which was soon abolished), typos and new characters. Search Shengshi Danqing Calligraphy and Painting Network There are many calligraphy and paintings of contemporary masters, and if you are interested, you can go and watch it.

Xingshu and cursive are both forms of Chinese character writing, and they have certain norms and standards in terms of strokes, structure, etc., so they can be considered as standardized Chinese characters. However, when writing line script and cursive script, it should be written in accordance with the corresponding norms and standards to ensure that the glyphs meet the specifications and will not be arbitrarily fabricated or tampered with. At the same time, some non-standard Chinese character writing behaviors, such as simplified characters, typos, and raw characters, should also be resolutely avoided.

Xingshu is a kind of calligraphy between regular and grass. The writing is more indulgent and flowing, close to cursive, called Xingcao; The writing is relatively upright and stable, close to the regular script called the line Kai.

In the process of writing, the pen turns, in the various forms of dot painting are more obvious, this kind of pen movement often in the dot painting, between the words left a mutual implication, thin as the traces of the gossamer, this is the silk connection.

Xingshu is a quick writing of regular script, and it is the flow of regular script. After the analysis of several groups of regular script and line script, it was found that when regular script and line script were written, the writing method of dot painting, and the guidelines to be followed by the pen, such as center, paving, reverse in and out, lifting the main and Tibetan front, etc., were all consistent, but the writing of the line was more stretched and flowing.

Big and small. That is, the size of each word is different, there is a word of the pen and the pen are connected, and the connection between the words is not only real, but also intentional, broken and connected, and the cover is hidden and echoed.

Combination of retraction and release. Generally, the short lines are closed, and the long lines are released; The return front is to receive, and the flank is to release; Most of them are left and right, up and down, but they can also be converted to each other, and it is not excluded that they can be left and right, and they are put down and closed.

Dense and decent. Generally, it is dense at the top and sparse at the bottom, dense on the left and sparse on the right, and dense inside and sparse outside. The middle palace is tightly knotted, and the smaller the white space in the frame, the better, and the smaller the white space for the circled strokes, the better. The layout is tightly spaced, the line spacing is widened, and the stumbling is vigorous and colorful.

Shades blend. Writing should be relaxed, lively, and fast, and master the combination of good and slow, movement and stillness. The ink color arrangement on the fiber hall should be the first word for the thick, the last word for the dry. The lines are long, thin, short and thick, light and heavy, and the shades are alternate. It's about the same as cursive, but not as cursive.

Appreciation of calligraphy and calligraphy.

Hello, line script and cursive script belong to the calligraphy font, the standard Chinese characters refer to the simplified words that have been sorted out and simplified and officially announced by the state in the form of the "General List of Simplified Characters" and the inheritance words that have not been sorted out and simplified, the "General List of Simplified Characters" received 2274 simplified Henghua characters and 14 simplified characters such as 讠 [訁], 饣 [飠], 纟 [糹], 钅 [釒] and other 14 simplified sides, streamlining the number of words in the Chinese character system (there are many words that are merged when "simplified", such as the valley of rice and the valley of the valley, which were originally two words) and the rough strokes of many words. Non-standard characters mainly refer to: traditional characters and variant characters (Note:

Article 17 of the Law on the Common Chinese Language of the People's Republic of China stipulates the "special" circumstances under which traditional Chinese characters and variant characters are allowed to be retained or used: 1cultural relics and monuments; 2.

The variant in the surname is used as a stool; 3.calligraphy, seal carving and other works of art; 4.handwritten characters in inscriptions and signboards; 5.

It is necessary for publication, teaching, and research; 6.Special circumstances approved by the relevant departments), Erjian characters (the Second Chinese Character Simplification Plan (Draft) was published in 1977 and was abolished soon), typos and new characters.

The "etc" in the Lahu Xingshu written by people every day is actually borrowed from the Caokuan Nai book. In the regular calligraphy of the wheel of Qiaoqiao in the book, it is generally not written so much.

Han cursive calligraphy.

Cursive is a font of Chinese characters, and hail traces have two meanings: wide and narrow. Broadly speaking, regardless of the age, all scribbled characters are counted as cursive. In a narrow sense, that is, as a specific font, it was formed in the Han Dynasty and evolved on the basis of the state Huaili script for the sake of simplicity of writing.

Han's official calligraphy.

Lishu, a font of Chinese characters, there are Qin Li, Han Li, etc., it is generally believed that it is developed from the seal book, the glyph is mostly wide and flat, the horizontal painting is long and the vertical painting is short, pay attention to the "silkworm head swallowtail", "a wave of three folds".

Regular script calligraphy of the Han Dynasty.

Kaishu, a font of Chinese characters, is also called Kaiti, Zhengkai, Zhenshu, Zhengshu. It gradually evolved from the official book, which became more simplified, horizontal and vertical. The book Cihai explains that it has "a square shape and straight strokes, which can be used as a model".

This kind of Chinese character font is upright, and it is the handwritten orthographic character of modern Chinese characters.

Convert the calligraphy font to block letters.

Xingkai, also known as "Chinese character line Kai handwriting glyph", is a font that focuses on regular script writing (rules), is freer than regular script, and is more regular than the line of script.

Xingcao, a style of calligraphy and calligraphy between Xingshu and cursive, can be said to be the cursive or cursive Xingshu.

The representative figure of the line is Wang Xizhi, and the representative work is "Orchid Pavilion Preface".

Xingcao was produced in the late Eastern Han Dynasty, and its representative work is "Treatise on the Six-Body Book".

Xingkai: It is a kind of regular script, with a ligature. Xingcao: It is a kind of cursive writing, with a little line of writing.

Xingkai is closer to regular script in terms of basic strokes, and Xingcao is closer to cursive.

Practice your own words first. This kind of problem that needs to be defined by countless Chinese professionals will take time to solve, and a calligraphy work can accurately express and render the theme and connotation of the work.

From the perspective of historical development, there are existing rows of grass, and then there are Kai.

The definition of calligraphy itself was summarized by later generations after calligraphers formed different fonts and styles. Therefore, future generations will definitely have different ways and conclusions when inducting, and the conclusions obtained do not have any impact on the essence of the font, but are only used for communication and learning, so there is no need to be too serious about the concept.

To get back to the point: the former is more inclined to regular script, and the latter is more inclined to calligraphy, so the difference between them is not only whether the strokes are sticky, but also in the meaning and artistic conception of the writer, which is a kind of "tendency". For example, even if there is the adhesion of strokes in the regular script, the skeleton of the overall character is relatively clear and easy to identify, and there is a kind of "willingness" in the regular script, which can be said to be a single style of the line.

From the point of view of "tendencies", these two statements coincide. Tian Yingzhang's statement is considered from the perspective of the individual frame structure of the font; And Tian Yunzhang's statement is from the perspective of the layout of the chapter. One of them is defined from the perspective of individual words and strokes, and the other is defined from the perspective of the overall layout of the text, in fact, it is not the same thing at all, but for the definition of whether it is a line or a line, they say a similar truth, that is, from the perspective of "tendency".

In fact, in my opinion, as well as the definition of the masters, to judge the line and the line, it is not only to look at the relationship between the strokes, but also to look at the style of the overall text, that is to say, from a more comprehensive perspective, because it is impossible to define the font by taking a character out of the calligraphy work alone. Take the point of view of defining the line of letters: whether it is that "the echo between the strokes is not implicated", or that "there are both regular script and line script", it shows that the overall tendency is biased towards regular script.

Vice versa. As for the method of definition, it is only a kind of posterity induction. It's normal for different people to have different opinions. The key is that in the process of understanding them, you can understand and learn the style, characteristics, and integrity of calligraphy fonts.

As for vague and unlocatable things, as long as we have an understanding and something to learn, it is better than to emphasize and categorize too deliberately.

Some superficial insights, I hope it will help you.

The difference between cursive and line writing is mainly reflected in the three aspects of character formation, pen rotation and cloth white chapter.

Let's talk about the font knot first, the font of the chapter grass is basically flat, the size is almost equal, and there is no implication between the words and the words, which is easier to recognize. The size of the font of the grass is uneven, and the knots are customary. Simplify the complex, and the same side of the word can represent different meanings.

Walking around in the knot, it is rigorous and free. Literacy is difficult.

Although the size of the book is also uneven, the amplitude is not as large as that of the present grass. The font of the line script is basically simplified on the basis of regular script, and the font is relatively flat. The knot is not grass, not true. Literacy is easy to lift.

Let's talk about turning with a pen. Chapter grass is from the book, and there are still waves in the pen. Imakusa basically does not have the shadow of the official book.

Use the pen to strike on all sides, and lift the blue freely. Each word has specific regulations for making transfers, and it is not possible to "let the pen be the body, and the ink is formed" is exactly what Sun Guoting said: really take dot painting as the shape and quality, so that the transformation is emotional.

The grass is emotionally dotted and transformed into shape. Grass loss dot painting, can not be written; It's really a loss, and the worry can be remembered.

The edge of the book can be hidden and exposed, leaving the garden. "It should not be too late to move the pen, and if it is too late, it will be obsessed and lose consciousness. It can't be too connected, even if it's embarrassing, it's not urgent, it still needs to slow down the change of this sedan chair, but there is no cursive pen disease.

Compared with regular script, its traces of transformation can be seen more or less on paper; Compared with cursive writing, its stippling form is more obvious in the traces of turning. In the middle of the brush, the connection is broken, so that the momentum is slightly exposed at the end of the point.

Finally, let's talk about the cloth white chapter method.

Today's grass in the chapter: sparse, back, pitching, welcome, light and heavy, virtual and real, uneven in the big open and close, big gallop, big sparse and dense, big slow and urgent. ** Balance in the flow of the bar. Risky, still moving. The pen is high and the things are strong, and the rhythm of the qi pulse is prominent.

The chapter layout of the book is mainly based on flat pen, and the danger is supplemented. Just like a man walking. There are scattered in the words, and there are staggered between the lines. It is neither wrong nor biased. The overall view is square, the pen is wrong, and the natural smoothness is unpretentious.