Calligraphy calligraphy penmanship, calligraphy works

The script is as follows:

Clause. First, the penmanship of Lishu has a strict "law".

The traditional calligraphy penmanship, its characteristics are: want to right first left, want to go down first up, Tibetan front pen, horizontal and vertical, hide the head and protect the tail, a wave of three folds, left and right back, geese do not fly double, silkworms do not have double heads, round and square folds. In the actual writing, to remember, the horizontal writing, the reverse front into the paper, want to the right first left hidden front pen, and then the center of the pen, line to the end of the front back to the pen, if it is the tail of the goose, you need to do the wavy treatment, as shown in the figure below.

The writing of the vertical painting is similar to the writing of the horizontal painting, the direction is different, and the pen is not knotted, which is similar to the writing of the seal script.

Clause. Second, the outline of the strokes of the official book has its characteristics.

When writing the official script, you must pay attention to its stroke outline, such as horizontal painting, and the two ends can not be cut into the paper like the regular script, and the pen is sharp. Lishu's skimming and painting, but also the line of the pen want to go down the first up, and then down the pen, to do the first light and then heavy, the writing of the skimming: the penmanship to the lower half of the slightly upward back to the front of the pen, as shown in the figure below, the end of the stroke appears thick and strong, to return to the front of the pen, the whole pen is hidden in the stroke, only to see the round head does not see the square corner.

Third, "silkworm head and goose tail" and "twists and turns".

The head of the silkworm and the tail of the goose, with twists and turns, are the most obvious stroke characteristics of Lishu. But not all fonts can be treated like this. In general, the long transverse wave painting in the official book should be made "silkworm head and goose tail", "a wave of three folds", the pen falls to the lower left against the front of the paper, flips the pen to write the silkworm head, and then lays the pen to the right, when it is close to the end of the stroke, slightly press the pen to suddenly out of the goose tail, and the whole stroke looks like the status quo of "one wave and three twists and turns", as shown in the figure below.

1. Horizontal drawing. Horizontal painting is a characteristic stroke in the official book. It is often beautiful to "fly sideways". There are two kinds of horizontal paintings in Lishu, one is flat and horizontal, and the other is wave horizontal. There are two kinds of square pens and round pens.

Flat horizontal. It refers to the horizontal horizontal shape, generally against the front of the pen, the folding pen in the center of the run, back to the front of the pen or open front to close the pen. There are convex, concave, and basic flat shapes.

2.Wavy horizontal. It is a kind of wave brush, which refers to the horizontal painting with a pitching state.

Generally, the pen is reversed, the pen is folded, the silkworm head is formed, and then the pen is lifted, and the front is frustrated at the end of the pen, forming a swallowtail. There is also the phenomenon of small silkworm head and large swallowtail. The waves should generally be written thick and round, the silkworm head and swallowtail should be full, and the horizontal middle should be slightly bent upward.

2. Vertical painting. The vertical painting is just an ordinary stroke in the official book, and the composition of this stroke is larger, that is, most of them are round and round. Some of the vertical ends are sharper, and they are not vertical in regular script, but naturally close when writing.

The vertical of the official book is generally the reverse front of the pen, the center of the Xu line, the Tibetan front of the pen. There are three forms of vertical painting in Lishu: middle vertical, left arc vertical, right arc vertical.

There is also a square pen, that is, the reverse front of the pen, cut to the upper left corner, and fold the pen down. Although vertical painting is not as distinctive as wave painting in Lishu, it should not be taken lightly when writing.

3. Skimming. There are many changes in the official book, in addition to the long apostrophe, curved apostrophe, but also apply some left side of the vertical painting (vertical apostrophe). No matter how the pen in the official book changes, the writing should be strong, calm and strong, and avoid light floating.

Fourth, painting. Painting is another form of wave brush. It is an important stroke that causes the momentum of the official book.

The painting in the official book is similar to the wave horizontal writing, which is the head of the silkworm swallowtail. It's just that the wave is horizontally flattened, and after the stroke is reversed, the pen is tilted to the bottom of the stone, and the pen is lifted to the right at the corner of the corner.

5. Hook painting. The hook paintings in the official books are sometimes confused with skimming because the hook is not obvious. The hook neck part is too long, and it is not like the hook of regular script that is upturned and sharp. The hook painting of Lishu is due to the traces of the wave pen, sliding out of the hook, so the pen should be slow when writing.

Zhang Qian Monument", "Cao Quan Monument".

Zhang Qianbei is a work of the late Eastern Han Dynasty. It is simple and simple, majestic and powerful, and can be called the representative work of this style in the Han monument. The whole article uses more "square pens", with sharp edges and corners of the pen, with the characteristics of Qi, straight, square and flat.

The thickness of the pen is between two and three points. There is less white cloth in the characters, the sense of heaviness and volume is particularly obvious compared with other Han monuments, and the space occupied by each character is also relatively symmetrical, and the complex changes are expressed in the strokes. The stele is on the knot body with the flat square for the Hui Na Zen master, the form of the word is unique, the square is neat and strong, the structure is strict, and the penmanship is concise.

The style of writing is upright and simple, and Fang Jin is vigorous. At first glance, it seems to be clumsy, but only after tasting it carefully can you see the exquisiteness, and the chapter and line qi are also smart, calm and powerful, and the ancient and abnormal.

Haoyang Ling Cao Quan Monument (National Treasure Cultural Relics). It is an important inscription in the Eastern Han Dynasty of China, engraved on October 21 in the second year of Zhongping in the Eastern Han Dynasty (185 AD). Cao Quanbei is the representative work of Lishu in the Han Dynasty, the style is beautiful and colorful and the body is well-known, and it is highly respected by calligraphers of all dynasties.

Judging from the calligraphy of this stele, the characteristics of its pen are obvious. Reverse in and out, mainly round pen, such as homeopathic push boat, rarely squat big jump pen, not excited, steady gesture, graceful and graceful, bright and multi-faceted. The feminine beauty of this monument is characteristic.

The front dust is graceful and colorful, the posture is slender, glamorous but not vulgar, beautiful and especially clear, the middle palace is tight, the essence is hidden, stretching like a group of cranes flying wings, elegant and dignified, luxurious and luxurious in the ancient thick, elegant and beautiful between the wind and the moon, the eggplant Zen pen is exquisite, plump and contained, the love is longitudinal, super easy and excellent, the spirit is harmonious, and the enlightened and beautiful and elegant all the way.

The calligraphy works are introduced as follows:

For most people who have not systematically studied calligraphy, the quality of calligraphy often stays in the intuitive sensory aesthetics, and it looks good at a glance is a mouse, and if it doesn't look good, it is an "ugly book", which is naturally a misunderstanding!

The aesthetic of calligraphy is layered or boundary, just like literature, when you are at different ages, the beauty you can find is different. This kind of beauty will continue to show with the improvement of your cultivation and experience, which is also the charm of calligraphy!

Some words look very "ugly" at first glance, but when you Zheng Jiao study for a period of time, you can really feel its beauty, and some works look beautiful, but they can't stand scrutiny and in-depth study. But there are also some works that look beautiful, and after in-depth study, you can also experience a deeper level of beauty!

There is such a work in the history of Chinese calligraphy, which can be called the "most beautiful" official script in ancient times, like such a beautiful official calligraphy, almost 1000 years, only one came out, this word is a mess!

This work is the famous calligrapher Xi Kui of the Qing Dynasty "Lishu Thousand Character Text"! It's so beautiful!

Xi Kui's name in the history of calligraphy is not loud, like many people who have been submerged in history, just because there are no more works handed down, and there is no illustrious origin, Xi Kui's name can be preserved only because he wrote this file of the famous "Lishu Thousand Character Text".

Xi Kui is a native of the Qing Dynasty, once served as the governor of Guangxi, and his official reputation is not big or small, but his calligraphy and painting are very famous at that time, but few people know it in contemporary times!

Such a beautiful official book has rarely been seen since "Cao Quan Monument", and it can be said that it took 1000 years to produce one!