Because cursive script is the perfect condensation of skills and emotions in an instant, it requires talent in addition to skills. What I bring to you below is a two-character cursive calligraphy font. I hope you like it. Appreciation of two-character cursive calligraphy fonts
Two-character cursive calligraphy font 1
Two-character cursive calligraphy font 2
Two One-character cursive calligraphy font 3
Two-character cursive calligraphy font 4
Two-character cursive calligraphy font 5
The charm of Zhangcao calligraphy
< p> Judging from the history of the development of cursive script, Zhangcao was generally formed between the Xuan and Yuan Dynasties of the Western Han Dynasty, and flourished in the Eastern Han Dynasty, the Three Kingdoms and the Western Jin Dynasty. His classic work is "Ji Jiu Zhang" written by Huangmenling Shi You in the Western Han Dynasty. At that time, it was not only a primary school literacy font but also a standard font for chapter cursive writing. After the Eastern Jin Dynasty, the new cursive script, as well as running script and regular script, became fully mature, and official script and chapter cursive script were also replaced. At that time, in order to distinguish the old and new cursive scripts, people called the new cursive script "Jin Cao". Since the old cursive script was strict and had rules to follow, it was called "Zhang Cao".In recent years, through the study of Zhangcao, especially the copying and research of "Jijiuzhang", the author has gained a new understanding and understanding of Zhangcao, a calligraphy style in the transition period between ancient and modern writing. It adheres to the official script, pursues the seal script and blends the regular script, and integrates various beauties into one, forming its own unique artistic charm.
The shape is flat and the characters are unique. The waves highlight the beauty of official script. Zhangcao is the cursive writing of official script. We know that the official script is derived from the seal script. The official script is characterized by simple and omitted strokes, making circles into squares, and crossing into folds. During the transformation process, the shape changed from long to square, and from square to slightly flat. Zhangcao inherited the flat shape and independent characters of official script. At the same time, the zhangcao in the strokes strengthens the waves, highlighting the most prominent feature of official script - silkworm head and wild goose tail.
The so-called silkworm head and wild goose tail is the most vivid metaphor for the main writing style of official script (horizontal painting with pinned feet). When starting the pen, the hidden edge of the pen is reversed, forming the shape of a silkworm's head with a slightly thinner waist; when closing the pen, the pen is pressed down and tilted upward to the right, shaped like a wild goose's tail. Its strokes are flat at the top and curved at the bottom, which is the most characteristic of official script and is also the key to writing good official script.
The so-called Bo Teng actually refers to the writing and pressing in later regular scripts. In the Eight Methods of Yongzi, "捺" is also called "甔". The reason why it is called "Zhe" means that its writing should have the tendency of "twists and turns", the brush strokes should be smooth and slow, and the leading edge should be tightened and calm and reserved. "Bo" refers to its left-hand strokes, which should be like curved waves. It is called "Pu" in the Eight Methods. The beauty of the wave is reflected in the left and right openings, the flying strokes, like the wings of a bird, and the graceful posture. It is an important expression of the beauty of official calligraphy.
Zhangcao retains the legal and legal meaning to the greatest extent. For example, from the point of view of using the pen, "Zang Feng is in reverse", and the stroke of the pen is "late and astringent". Judging from the changes in strokes, it is like "geese don't fly together, silkworms don't fly together" and so on. From a structural point of view, due to the need to increase the speed of cursive writing, the order of writing and writing must be changed or parts must be moved, but generally the structure of the official script such as the left and right structure, the upper and lower structure, and the surrounding structure is retained. Judging from the connection form of strokes, Zhang Cao often has the phenomenon of a circle of strokes forming a "wild goose tail" shape, such as "decision" changing to "killing" "you" Gao "bian". If the first three characters are still "捺", which makes it inevitable, then the last three characters are "horizontal" and "yanwei" makes it happen. Here, the former is an organic combination of waves and the latter is an organic combination of horizontal and vertical, but in the end the tail is still not abandoned.
Looking at the seals and seals of the past dynasties, most of them adhere to the main characteristics of the official script, permeate the official meaning of the official script, and highlight the unique beauty of the official script in the seals.
With the beauty of regular script and its elegant shape and body, Han Li gradually embarked on the road to regular script in the process of grass-roots transformation. The former abandoned the rules of Han Li and aimed at pursuing writing speed; the latter closely retained the characteristics of Han Li and further pursued the beauty of a dignified body. During this period, in the process of "dualization", cursive and regular script merged and merged, and running script was produced.
Kaifeng means gradually reducing the publicity of Li Zhibo's strokes into regular script strokes, and adding regular script strokes such as side (dot), peck (short stroke), and 误 (straight hook). At the same time, the font of the official script "Bazi Shi" (which is why the name "Han Li" is called "Bafen") has been changed, and the structure has become more strict, square and beautiful. By the end of the Han Dynasty and the Three Kingdoms period, regular script had begun to take shape, and Zhong Yao was its founder. Later Wang Xizhi developed further and became increasingly mature.
In "Jijiuzhang", we found more perfect regular script characters such as "人", "水、火"", "Reflect", "九", "口", etc., and we saw more running script characters. Of course, overall these are still a minority of the total number of "Ji Jiu Zhang". However, if we look at the radicals, we can often see the images of regular script, such as Danshuangliren, handlebar, wooden character, three-point water, king character, etc., many of which are typical of regular script. Writing method. In addition, some characters, except for one or two strokes that have the characteristics of Zhangcao, are simply orthodox regular script characters, such as "法"jun"Xian"Ting". These are enough to illustrate the standardized Zhangcao's writing and composition of certain strokes in regular script. Structure and other aspects of reference.
Take a look at "Jijiuzhang". It has a single and upright shape, is square and beautiful, and is simple and fast, with no branches or branches. The stipples are clear and upright, and it is simple and well-founded. It is actually a paradigm of cursive regular script. . Zhang Huaiguan of the Tang Dynasty once classified the Huangxiang Book as a "divine product", and commented that its chapters and chapters are all one and the same, and that all the characters are the same, which has created its ultimate perfection. The word "all words are the same" here is not a derogatory meaning. It actually means that the posture is coherent, dignified and handsome, which is a very high state of calligraphy art.
, so that it appears to the world with a new look. It is eclectic and integrates the beauty of waves, curves, dignity and flow into one, forming Zhangcao's own unique artistic charm.
The charm of Zhangcao art is reflected in the harmonious unity of contradictions. The wave of the official script, the strokes open to the left and right, have the potential to fly; the arc of the seal script, the lines are round, soft and strong, with an inner wrapping posture; the continuous lines of the grass, the strokes are flowing and winding, with the meaning of continuity; the French style of the regular script, The structure is square and elegant, and there are rules for cleanliness. The beauty of Zhang Cao is reflected in this situation of "violation without violation, harmony without difference".
Ancient classic calligraphy works have many comments on the shape and image of Zhangcao. Like a beast or a bird standing still, determined to fly; cunning to avoid violence and fear, it will rush to the end? (Wei Heng's "Four-Body Shu Shi"); "Like a dragon and an earworm stinging, stretching out its plate and walking again" (Dou Gao's "Shu Shi") Book Fu").
Here, standing is hesitating, wanting to move but not doing it, standing on tiptoes, showing movement in the stillness, but still still in the end. "Violence" means movement, "end gallop" means stillness, and "will run" (cannot, stand) is the freeze-frame of the mental image of stopping with stillness. This fully embodies the aesthetic appeal of the calm and stretched strokes in the Zhangcao structure and the combination of movement and stillness.
?The inevitable result. This is a very vivid and wonderful display of movement within stillness, stillness within movement, interweaving of movement and stillness, and repetition of movements into chapters (compositions).
In Zhangcao, simple strokes provide more space for the flow and expansion of the characters. It traces the past and opens up the present, adopts official script and seal script, uses both square and round characters, and is curated into regular script; although its strokes are involved, the turns have their own rules. In the continuous movement of the strokes, waves are made horizontally, with strokes, and between dots, and the strokes are pressed slowly and slowly. Out, it always adjusts the rhythm and speed of the pen and ink; each word is independent, like stars and beads, and the speed of the writing contains delay, intermittent, sometimes fast, sometimes slow, and continuous breath. The whole chapter has a simple, solemn, calm and joyful nature, and at the same time, a beautiful piece of classical music lingers in my ears. This is the artistic charm that can be seen from the study and appreciation of Zhangcao.