Appreciation of Cao Quanbei's Lishu Calligraphy Works
Pictures of Selected Calligraphy Works of Cao Quanbei Lishu 1
Selected pictures of Cao Quanbei Lishu calligraphy works 2
Selected pictures of Cao Quanbei Lishu calligraphy works 3
Selected Pictures of Cao Quanbei Lishu Calligraphy Works 4
Cao Quanbei radical? Next to the hand, next to the wood
Radical? Next to the hand, next to the wood
Writing tip:
Next to the hand: the first stroke is horizontal, the second stroke is vertical bending, which can also be understood as vertical skimming (later evolved into a hook in regular script), and the third stroke is a slightly inclined short horizontal stroke (later evolved into a pick). Generally, the first stroke is relatively short, the two horizontal strokes are relatively close, and the vertical curve is relatively long, extending to the left, especially? Hey? Especially obvious. Special attention should be paid to this radical, which is distinguished from regular script writing. In particular, it is easy to write in regular script in Erheng, and pay attention to the unique feeling of the official script here.
Next to the wooden character: the first stroke is flat and horizontal, which can be round and slightly arched. The second pen is mostly sharp and strong. There are many changes in the third pen, which can be a willow pen, such as? Yang? , but also back to the front, such as? Root? . Skimming can also be broken vertically, and the pen is broken, for example? Machine? . The fourth pen can also be answered. Yang? There are still some bends in the middle, which look strange and varied.
Application: Please use this tablet technology to create the following characters: pull, skill, evidence, wipe, grip, du, gram, tong, root and barrel.
The expression form of brush gesture in calligraphy
1, the tendency of stippling
Mr. Shen said to him, what about it? Is gesture a one-way rule, or is it a way of writing in which each stippling obeys its own special posture? . The one-way rule and special posture mentioned by Shen Lao are undoubtedly the eight-character method of quoting and forbidding classics in the same chapter. The reason why Shen Lao discussed this problem in the stroke section is mainly to explain the attitude of eight kinds of stippling that constitute the most basic Chinese characters. What methods can be used? Be prepared for the trend of eight laws. ?
The basic national stippling modeling of Chinese characters was created, improved and finalized by several people in several years. More than 2,000 years since the perfection of the Han Dynasty, there are still eight kinds, which do not decrease or increase, and the eight kinds of stippling postures remain the same. If we further analyze the eight special gestures of pointillism, we will find that they have a common feature-an obvious tendency. Some textbooks interpret potential energy as? A trend of things? And tendency is the characteristic of eight kinds of stippling. Eight tendencies of China's stippling are mainly manifested in the directionality of stippling.
Eight kinds of stippling of Chinese characters all have obvious directionality, especially the short drawing, whose outline is like an equilateral triangle, indicating or marking a certain direction. Take a point as an example and write an independent point. Its special shape is small on the top and big on the bottom, indicating the direction in which an object falls in a streamlined way under the influence of the gravity of the earth. At the same time, the strokes of the pointed paper also indicate which direction the object fell from. The part of closing the pen and leaving the front also indicates the direction of rebound after encountering resistance. With such directionality, a special stippling form, small and large, has been formed. Formed the so-called point potential. People think it has weight, speed and direction, so it has? A stone falling from the mountain? Said. If it is not this form, but there are big and small things, people will immediately think of light things such as flower buds and balloons and feel powerless. It is for these reasons that we re-examine the eight forms of stippling. When the ancients designed stippling, they did not take the shapes of regular circle, arc, equilateral triangle, square and rectangle as the special shapes of stippling. It is precisely because these shapes are not directional and tendentious. There is no power, so there is no power.
In addition to short paintings, such as horizontal and vertical long paintings that support the skeleton type of Chinese characters, the lines from left to right and from top to bottom are also obvious and cannot be inverted. The potential energy carried by pointillism directionality is mainly manifested in:
Liquidity of stippling
Fluency mainly refers to an unstable collocation when eight kinds of pointillism are combined with each other. Many stipplings are not arranged in a straight line but obliquely, and some even swing around 45 degrees. Like what? Beg? This is the case with the following four paintings. . This oblique painting is easily influenced by the gravity of the earth, carrying gravitational potential energy? Bigger? There is a hair-trigger trend. People feel from psychology that this gravitational potential energy can be immediately converted into kinetic energy, so. The structure of Chinese characters itself has certain potential energy.