In the thousands of years of calligraphy history, regular script has always been a mainstream. It has both strong practicality and aesthetic value. As a scholar of calligraphy, faced with the vast number of famous monuments and texts, we must choose the good and follow them in order to reap the rewards. So what if you choose regular calligraphy? Below we propose several principles.
The best way to learn calligraphy
When you first learn calligraphy, you must follow the best way to learn calligraphy, otherwise you will fall into the bottom of the stream. So, what does it mean to take the Dharma? We believe that regularity and artistry are the criteria for testing the quality of regular calligraphy.
The so-called "regularity" means that whether it is basic stippling, or frame structure and composition, they all conform to the technical specifications that regular script should have. By copying it, one can master these technical specifications and be able to use them. And by analogy; the so-called "artistic" means that it is not only standardized and regular, but also its gestures, meanings and knots meet aesthetic requirements. It can be pleasant to look at, and intoxicating to experience.
Some people think that "the best method is to take the best approach", that is, the more ancient the time, the better, but this is not the case. Regular script has gone through a long historical process from development to maturity. The establishment and perfection of the rules was not like this at the beginning. It was only in the Tang Dynasty that regular script was fully prepared. Therefore, for beginners to start with Tang Kai script, it is best to learn from the method. There is also a saying in practicing regular script that the big script should be done first and the small script should be done later. After you have a certain foundation, you can then learn the regular script of the Wei, Jin and Six Dynasties, and you can get the quaint and mellow taste beyond the rules. In regular script, for beginners, the ink script has clear beginnings and ends and clear strokes, making it easier to observe and may produce faster results.
It varies from person to person
The styles of regular script are diverse, some are simple, some are elegant, some are casual, and some are dignified. You can choose it according to your own aesthetic taste. Good to choose. Some people like the regular scripts of Wang Yizhi, Wang Xianzhi, Liu Gongquan and Chu Suiliang, which can be imitated; some people like the vigorous and heavy scripts, such as the stele of Yan Zhenqing and Zheng Wengong, and they can imitate them; some people like square scripts, such as " "Zhang Menglong" and Ouyang Xun's regular script can be used as a reference; some people like round pens, such as "痗 Crane Inscription" and Yu Shinan's regular script are Zhengze.
Selecting a post is like choosing a mate. You must first like it, then you can build a relationship, and put your energy into it, so that you can achieve the greatest results. You must not be distracted by different ideas, wandering around, appearing to be in hundreds of houses, but in fact you are one family. I don't know, it will only be a waste of time.
The following introduces four classic regular script scripts for your reference.
Ouyang Xun's "Jiucheng Palace Liquan Ming"
Ouyang Xun's book in the Tang Dynasty. Written by Wei Zheng. It was carved in April of the sixth year of Tang Zhenguan (632). There are twenty-four lines of text and forty-nine words in the line. On the forehead of the stele are six characters of "Jiucheng Gongtiquan Ming" written in Yangwen. The monument is in Linyou, Shaanxi. There are many Song rubbings handed down from generation to generation, among which the Northern Song rubbings collected by Li Qi, the consort of the Ming Dynasty, are the best and are now in the Imperial Palace Museum in Beijing.
This monument was written by Ouyang Xun in response to an imperial edict when he was 75 years old. The calligraphy is refreshing and extremely precise. His writing style is thin, hard, and strong, and his characters are straight and smooth, with no mistakes at all. Chen Jiru of the Ming Dynasty commented on "The Complete Works of Meigong", "This post is like a person in the mountains, thin, hard, cold, and full of shyness. It can make princes bend their knees, and no one else can do it.
Except for the answer in practice. In addition to paying attention to the different forms and changes of pointillism, we must also focus on the thinness and strength of the lines, and the brushwork must be decisive and refreshing, and avoid being sloppy and hesitant.
Yan Zhenqing's "Yan Qin Li Monument"
The full name is "The History of the Governor of the Governor of Langkui Province in the Tang Dynasty", written by Yan Zhenqing in the 14th year of the Tang Dynasty (779). It is inscribed on three sides and has 44 lines in regular script. It was originally preserved in Xi'an, Shaanxi Province, and was lost during the Song and Yuan Dynasties. It was rediscovered in the Forest of Steles in Xi'an.
This book was written by Yan Zhenqing for his great-grandfather Yan Qinli when he was 71 years old. The brush strokes are sharp and vigorous, the structure is dignified and graceful, and the momentum is majestic, clear, natural and generous.
When practicing, please pay attention to the fullness and plumpness of the stipples, as well as the changes in the thickness and weight of the lines, and at the same time, pay attention to the contrast. Pay attention to the fact that the lines are not delicate in the thin parts and not bloated in the thick parts.
Chu Suiliang's "Preface to the Holy Teachings of the Wild Goose Pagoda"
The full name is "The Preface to the Holy Teachings of the Tripitaka of the Tang Dynasty", also known as "Ci'en Temple". "Preface to the Holy Religion" was written by Fan Ershi in the fourth year of the reign of Emperor Yonghui of the Tang Dynasty (653). The "Preface" was engraved in October and the "Preface" was inscribed in December. It has 21 lines and 42 characters, written by Li Shimin. The full name of "Ji" is "The Preface to the Tripitaka of the Emperor of the Tang Dynasty" written by Chu Suiliang. It is written by Chu Suiliang and has 20 lines of text. Under the Big Wild Goose Pagoda of Ci'en Temple in Xi'an, Shaanxi Province.
The font of this book is thin and strong, and the strokes are both square and round, and are agile and expressive. , lead and graceful, very generous. " is one of Chu's representative works and one of the successful examples of the combination of stele and calligraphy styles. When approaching the tomb, you should pay attention to the different changes in the fonts, and strive to express the thinness, strength and sharpness of the lines. But you should also pay attention to the roundness of the lines. , be careful not to be delicate.
Yu Shinan's "Confucius Temple Stele"
Yu Shinan wrote and wrote it in the ninth year of Wude (626) in the Tang Dynasty. Destroyed. In the third year of Chang'an reign of Emperor Wu of the Tang Dynasty (703), the official script was re-engraved with thirty-five lines and sixty-four characters. There are no six characters left in the seal script "Tang Confucius Temple Monument".
There are several reprinted editions in later generations, two of which are famous: one was engraved by Wang Yanchao of the Song Dynasty in Xi'an, Shaanxi Province, commonly known as the "Shaanxi edition" or "Ximiao Tang Stele". The second one was re-engraved in Chengwu, Shandong between the Yuan Dynasty and the Yuan Dynasty, commonly known as "Chengwu Ben" or "East Temple Hall Stele". The old ink copy collected by Li Zonghan in Linchuan, Qing Dynasty, also known as Tang rubbing, is the best rubbing in existence.
This book is round in shape, elegant and subtle, the writing style is soft on the outside but strong on the inside, and the power is calm. The body is solemn and quiet, stretching freely, like a frail elder, which is awe-inspiring.