First of all, the length comparison of stippling.
The length of stippling and its relationship include the following meanings:
1, uneven variation of stippling
Wang Xizhi said in "The Postscript of Lady Wei": "If it is straight and similar, it looks like a symbol, and it is up and down, and the front and back are flush, it is not a book, but a touch. "[1] Although this is about glyphs, it also includes the requirement of stippling. Imagine that if the stippling is different in length, the glyph will not be "up and down, and the front and back are flush". The shape of a word must be an irregular polygon, so that it will be rich and colorful because of its irregularity. Only in this way can you "draw bit by bit and express it vertically and horizontally" ... If your measurement is unexpected, this book will be wonderful. " [2]
2. Release the relationship of stippling.
The length of stippling in calligraphy actually reflects the relationship between the change of structural density and the release of word potential. It's just that the expression of the ancients is different from the present, simple and straightforward, and the expression of the ancients has more cultural attachments. As Yao, a man of the dynasty, said: "It is said that the room should be divided into white, and it is also said that it can be sparse and airtight. The preface is about legislation, and the latter is about following the trend. How can it be wonderful if there is neither? " [3] When it comes to structure, it is natural to talk about density and release.
The density here refers to the space between lines. Long stippling means large space, while short stippling means small space. In this way, the density of words naturally appears, the changes of calligraphy naturally appear, and the pursuit of calligraphers has a basis. "The word is dense, dense and tight, sparse and rich, harmonious and silent, cold and hot, life and death. This has nothing to do with human feelings, it has something to do with heaven and it has nothing to do with you. "[4] Density is the spirit of this word." No matter whether the word is dense or oblique, there must be a spiritual knot, which is the palace of words. " [5] So the length of stippling is related to the success or failure of the structure and the choice of style. For example, Yan Zhenqing and Huang Tingjian, the choice of stippling length determines the difference of structural style and density style. The theory of the middle palace is related to the density of stippling, or the relationship between stippling, emptiness, sparseness and density. In view of these two points, we should pay full attention to observing the structure when copying, and pay attention to the relationship between the density and the length when creating. The content comes from 3.6.7.art.com
The density and retraction of words are actually two aspects of the same content of the structure, namely density and space, retraction and posture. Space is relatively static while potential is dynamic. Between the length of this stippling, with the closing and exhibition of the word potential, it shows the relationship between the dynamic and static changes of stippling, the interaction of yin and yang, and the coexistence of reality and reality. This also leads to the tendency to choose stippling.
3. The choice of trend stippling
Speaking of the above situation, the ancients' exposition of the situation is more complicated, and only the form of words is said here. We have to steal this concept for the convenience of discussion. Generally speaking, there are only four kinds of stippling as a tendency (but sometimes there are exceptions, such as the left point of the word "not necessarily" in Huang Tingjian's Poems and Postscripts on Cold Food in Huangzhou. There are two relationships to be dealt with: vertical and horizontal. Skimming basically has both vertical and horizontal trends, and some can also be regarded as horizontal or vertical, so we should pay more attention to observation. The extension of directional stippling is more obvious in a single character, and each part of a combined character can be retracted with reference to the processing method of a single character. In this way, we can understand the relationship between stippling and structural style, and also understand the relationship between part and whole. By extension, it can be a chapter.
The tendency of stippling determines its extensibility, which means it can be used as the main pen. [6] The length of stippling is also primary and secondary, and the extension of long painting is the inherent requirement for the main pen to reflect the word potential.
4, the relationship between primary and secondary stippling
Every word has only one potential, and all stippling works for it. It is the main pen that reflects the potential of characters, and other stippling is mainly based on this. "Every word has a pen, and the rest are objects. We should all take care of each other. " [7] In fact, the length of stippling is only the most intuitive expression. On the relationship between primary and secondary, many predecessors have discussed it, and now it is extracted as follows, which can be more detailed and make up for the deficiency of modern expression. The content comes from 3.6.7.art.com
Liu Xizai's "Book Outline" said: "Those who paint mountains must have a main peak, and the main peak is arched by the peak; The writer must have a main pen, which is arched by the remaining pen; If the main pen is not good, the rest will be defeated, so those who are good at books will strive for it. " [8] Zhu Hegang's "New Interpretation of Linchi" said: "Write a word with the main pen, and there will be orderly discipline." "Every word is the main pen, and all the layout, potential development, structure, control, diarrhea and support are the main pens. With this master pen, all sides breathe together. " [9] Yao's "Memories of Ci" said: "The vertical and horizontal of the word is still the beam of the house, so it should be straight and not oblique. When writing a model, the object and the host are distinct, such as Japanese characters, the left vertical object should be light and short, and the right vertical object should be heavy and long; In the painting object, it should be ethereal and graceful, and in the painting subject, it should be realistic and verve. " [ 10]
Second, the contrast of stippling thickness
Calligraphy, as the art of lines, seems to be a conclusion and a consensus. "A prescribed line runs through the universe and gives all living things. If they run in this line and feel free, nothing ugly will happen. " [1 1] Rodin said. Mr Zong Baihua went on to explain: "The pen of China people started with a painting, which broke the void and left handwriting. Both the beauty of people's hearts and the beauty of Vientiane flow out. The universe mentioned by Rodin is all over the line of everything. China's ancestors made extremely rich and creative reflections on calligraphy, such as Oracle Bone Inscriptions in Yin Ruins, Zhong Dingwen in Shang and Zhou Dynasties, Han Li Ba-fen and cursive scripts in Jin and Tang Dynasties [12]. Indeed, it is this thread that makes China's calligraphy have infinite charm. But in it, we seem to have overlooked a common sense problem. The movement result of a point is a line, and the movement result of a line is a surface. Many pens are synthesized, and the result of the operation can only be a surface. Perhaps, some people will say that this is a thick line, not bad! It is a thick line, and the key is how to identify thick lines with different edges. Understand the relationship between the line and the surface of stippling, and understand the relationship between the main hair and the auxiliary hair in the pen, so as not to be entangled in the so-called center, flank and side. [13] Therefore, we should re-recognize the thickness of stippling in teaching. This article comes from 3.67 Art.
1, volume comparison
In short, the thickness of stippling is by no means arbitrary, it has its own strict rules. In teaching, guide students to analyze the thickness treatment of horizontal and vertical strokes, the thickness arrangement of main strokes and other stippling, so that students can have a simple understanding of quantity first. And this intuitive understanding will have a direct impact on the future, because the connection between stippling is precisely the ultimate goal of the techniques we have to master. The combination of the thickness of a braille is a dynamic system, just like a galaxy, which forms a relatively stable system in mutual attraction. As Sosmaz said: "When two points appear, they show length and vague direction, and an' inner' can produce special tension between two points, which directly affects the space between them. ..... If the sizes of these points are different again, all these feelings will be enhanced, and a line can be imagined as a series of connected points. It represents position and direction, and it contains a certain amount of energy. These energies seem to run along its length and strengthen at both ends, suggesting speed and acting on the space around it. It can express feelings in a limited form. " [14] Indeed, the thickness of lines and Fiona Fang will convey a certain visual feeling. From this, we will also think of more problems, such as stippling shapes related to thickness, using pens, aesthetic problems and so on. Taking this as a starting point, let's discuss these issues.
2. Understanding of stippling form
Note: The word "big" in Dong Fangshuo's paintings is copyrighted by 367art
In the horizontal direction of random selection, we can at least clarify the following groups of relationships:
(1), along two opposite sides,
The difference between edge and line can at least explain the difference of stroke trajectory, and the thickness change in the middle is related to the change of pen pressure. Different tips along the edge indicate that the distribution of brushes is different. By observing some stippling in Yan Zhenqing's vertical paintings or Zhang Hei's epitaph, we can understand the shaping effect of hairbrushes on stippling modeling.
(2) The inclined state along the opposite side
When the long side is stretched horizontally, it can show curve changes, especially the arc along the lower side is very beautiful, and its extension line can also show the inclusive relationship of stippling. The short side indicates the angle of starting the pen and its relationship with the previous pen, the angle and amplitude of receiving the pen and the trend of receiving the next pen. An accurate analysis of this can not only understand the ancient writing, but also get practical methods.
(3) Length-width ratio.
This is the most easily overlooked relationship. On the one hand, it intuitively shows the visual effect of stippling; On the other hand, it shows the spreading degree and extension trend of brush strokes, as well as the influence of distance on the next stippling and the adjustment state of brush strokes when accepting.
If this analysis is extended to other stipplings, there will be more complicated relations. However, stippling as the thickness of the surface is obviously the key point of the problem.
(4), stippling Fiona Fang's understanding.
The forms of lines in China's calligraphy are very rich, including Fiona Fang. The changes of straight lines and different directions of lines, and the changes of writing brushes are even more numerous. But if you think about it carefully, curvature, straightness and inclination are only expressed through the trajectory of motion, and more reflect the state of motion. Square and circle are a pair of concepts in area or volume, such as square, circle, cube and sphere. , but there are few aspects and square lines. Only by confirming the characteristics of calligraphy stippling can we understand the forms of these stippling. 367art.com
3. Changes in the weight of pens
The thickness of stippling is reflected in the change of lifting pressure, which reflects the rhythm of calligraphy pen. Of course, the rhythm of using a pen is more than just lifting and pressing. On the one hand, the change of lifting pressure is related to the weight of stippling, on the other hand, it is also an important means to adjust brush strokes. In the process of lifting pressure, controlling the gathering and dispersion of strokes, lifting pressure is mutually useful, and the meaning of lifting pressure is implied in lifting pressure. This can not only adjust the strokes, but also give full play to the performance of the strokes. Dot painting collapses when it is heavy, and it is as light as cicada. "So, when you are heavy, you should fly the pen, and when you are light, you should press the pen to avoid dropping and floating the pen." [15] In this way, it can also be understood that the structure is not single and independent, but closely related to the use of pens. In the Southern Dynasties, Wang Sengqian's "Praise of Pen Meaning" said: "Coarse is not important, fine is not light, fiber is relative, and there is no death." [16] also points out the relationship between stippling thickness and pen use and its subtle changes.
4. Aesthetic relevance
The thickness of stippling is from the shape. From an aesthetic point of view, there are fat and thin. The theory of obesity has existed since ancient times. In the Southern Dynasties' Twelve Meanings of Zhong You's Calligraphy, it was said: "Yuan was often called Gu Fei, but now he is called Thin. Today and ancient times are different, and fat and thin are the opposite. If you look at yourself, you have a different view. Zhang Zhihe Zhongyou is clever and interesting. Fat and thin, ancient and modern, it is easy to pay tribute. Although there are not many original works, they can be obtained and pushed. Students respect people like painting tigers, and learning elements like painting dragons. " [17] However, "Don't use a pen too fat, it will be turbid if it is fat; I don't want to be too thin, thin is dry. " [18] "So people are comfortable with books, but they are neutral, fat and thin. If the book is also short, the degree of coordination should be balanced, yin and yang should be appropriate, and rigidity and softness should be combined. People who talk about the world are neither fat nor thin, neither long nor short. For the sake of beauty, so is the book Bank of China. Strong is thin. If you lose weight, your spine will be strong and your posture will be barren. I am colorful, but I am overweight. Being fat is a constant study of your posture, and your spine is getting weaker and weaker. Jews are thin and explicit, and fat and explicit are not good; Thin but not obvious, fat but not showing meat, still. It makes bones thin and steep. It is elegant and elegant, dignified and smooth, though thin and solid. Body fat fiber, plus convenience and strength, is beautiful and clean, although fat is also beautiful. Thin and fat is called Qingmiao, and unclear is not good. Fat and beautiful people are rich and gorgeous, and those who are not rich are not gorgeous. Therefore, Yan Fei and Wang Qiang are beautiful, so beautiful. " [19] As Wang Shizhen said, "Zhang Changshi is better than fat, and hiding from the truth is better than being thin." However, "being thin and hard is easy to work, but being fat is rare." [20] Fat and thin are all caused by pens. Pens can absorb ink, so they are naturally full of vigor and flesh. "Today people mistake the weight of ink for the thinness of meat, which makes stippling unclean and subtle." [2 1] Therefore, the thickness is related to the structure and use of the pen, which is an important part of opening the door to calligraphy. 36.7 days
Third, the distance relationship between stippling.
The distance of stippling mainly indicates the size of the space between stippling and the division state of one stippling to another. Point the painting in the studio -2
Distance includes the spacing of stippling and the distance between roots. As shown in Figure -2, we can see the importance of distance from several words in Yang Ningshi's Jiuhua Tie. The distance between stippling varies greatly and is not evenly distributed, which is why we emphasize distance. Jiang Kui continued the book spectrum and said, "When drawing a picture, it is better to draw a picture with clean strokes and even density if it is beautiful in four directions, straight in three directions, fish in four points and painting in nine points. When it is not sparse, it becomes cold; If it is dense, it will be carved. " [22] It can be seen that the "stop" of stippling is only visual symmetry or balance; Rather than real distance equality. As Ou Yangxun said, it is a kind of "fixed thinking, intensive and correct" [23], which is an important embodiment of the essence of calligraphy. Natural things must be patchwork and will never be balanced. For example, Wei Heng's "Four-body Book Potential, Leaving the Stone Potential" said: "The waves are scattered, and if the bell is set, the court will fly. The rocks are craggy and the sea of clouds is increasing. High subordinates are more important than worshipping Taiwan. " [24] As Wang Xizhi's "On Gestures and Videos" said: "It depends on the image, the appearance remains the same, and the situation is interesting. Divide the painting evenly, match the distance, spread the cloth and polish it, and reconcile the pen and ink. Front and fiber come and go, closely attached, iron pointed silver hook, Fang Yuanyuan. " [25] These are all natural changes that emphasize the density of stippling, but the exaggerated changes that people emphasize today are only the expression of the inner self. 36.7 Art Gallery
The space in calligraphy is not only the contrast between virtual and real. If we just fix our thinking on a plane and think that the structure is divided by stippling in a certain area, it shows that our imagination is lacking. As Max Lieberman discussed in Imagination in Painting, "The closer the symbols used by artists are to the feelings and impressions gained from nature-all art is just symbols-the more imagination is needed to create these symbols." [26] (Note: Another translation is: "The closer the artist's hieroglyphs are to the impression of nature-all art is just hieroglyphs-the more imagination is needed to design them." [27] The space of Chinese characters comes from nature, and it has all the spatial characteristics endowed by nature. If we have experienced a garden-like composition from ancient seals, then in calligraphy, we can also feel poetic artistic conception, musical melody, or plane and three-dimensional composition in modern art. More importantly, we can analyze Picasso's paintings, and to what extent those horizontal or oblique lines are similar to calligraphy composition. If our imagination expands into a plane along stippling, we will get a three-dimensional composition. At this time, who will doubt the importance of emphasizing Chinese characters' spaces? Because of the line and surface characteristics of calligraphy stippling and the three-dimensional spatial characteristics that need to be imagined, calligraphy has infinitely rich composition possibilities. What we have to do is to find it and use it to express our temperament and our views on the world. As Gombrich said, "Information from the visible world must be encoded by artists. We have seen how these codes have been changed to adapt to the kind of information that art wants to convey. " [28] The structure of calligraphy stippling is a coding system, and calligraphy works are transformed codes, from which we can see the information that calligraphers want to convey. The distance arrangement between stippling and painting is only a combination of codes. To understand it, we should pay attention to this "distance". This article comes from 3.67 Art.
The second performance of stippling distance is the mutual division between stippling. Like a cross, this intersection is the dividing point. The distance between this point and both ends of stippling is related to the thickness, inclination and shape of both ends of stippling. In other words, the choice of pointillism demarcation point is not arbitrary, but has strict internal regulations. The purpose of analyzing ancient works is to learn the movement of ancient people when painting by dots. The stronger the sense of dynamic balance, the more accurate the grasp of the structure will be. If you refer to the knowledge of painting composition, you will find that the composition of calligraphy is equally interesting, and its exquisiteness is no less than painting. Therefore, in order to have a deeper understanding of the structure of calligraphy, we need to absorb nutrition from sister art. Only in this way can we gradually form our own unique understanding of the structure and form our own structural style.
Fourth, the tilt state of stippling.
Among the "eight keys" of this structural teaching system, we pay more attention to the understanding of stippling than the structure itself, which is also the difference between this teaching method and the previous structural teaching. We pay attention to the form of stippling because stippling is directly related to the use of pen and structure at the same time. Dot color is a combination element of structure, and their combination characteristics are consistent with the shape of dot color.
[29]
As can be seen from the above example, different stippling forms and different combinations will have different final results. From this, we can also find that almost none of the stippling of these characters is straight, including official script. These slats are inclined to varying degrees. If there are more examples of observation, this feeling will become more and more obvious, especially regular script and running script. In teaching, students should be guided to observe and find out the inclined state of each stippling in the nearby flat plate, including the square and circle at its turning point. Special attention should be paid to various "box" structures, which are the most easily overlooked. It can be said that the tilt of stippling is very important to the performance of a word gesture and needs special attention. Copyright 367 Art.
Jiang Kui said in "Continued Books": "The truth of books, fairness is good, and this secular theory is also the loss of Tang people. The beauty of true books in ancient and modern times is no less than that of Zhong Yuan, followed by Wang Yi. Today, the books in both schools are chic, so why not? ..... and the length of the words are small and big, and the oblique density is naturally uneven. What can one be? " [30] This is the first thing that calligraphy education should emphasize. Teachers are required to be horizontal and vertical from the beginning of primary school, which is fatal to calligraphy teaching. The horizontal and vertical results make the whole word appear stiff and dynamic. The tilt of stippling is an important means to break this rigid state, and the balance between stippling is a dynamic balance. Arnheim has a passage that illustrates this problem well. He said: "Some examples show that visual activities are mainly conveyed with tendentiousness. ..... Oblique objects have great power because they deviate from the axis of this basic frame. Relative to the vertical direction, they either rise or fall; At the same time, in the relationship with the level, they either advance or retreat. This relationship can be active or passive in different situations. In the active sense, the object either moves to the coordinate axis or moves away from it; In a passive sense, it is either attracted or excluded. " From this sentence, we can draw the following points:
1, "visual activities are mainly conveyed by tendency" shows that human vision is sensitive to dynamic things. As mentioned above, tilt will change the balance point, and pointillism itself will also transfer a kind of kinetic energy, or express a state of mind. As Cui Yuan's cursive script said: "Look at its image, it is elegant, square and round. Restrain the left and promote the right, and look forward to it. The enterprise is flying and the target is moving. The cunning beast is very violent and will rush to the end. " [32] The expression of the ancients needs more imagination, which is a literary or poetic expression; Nowadays, the expressions of China people or westerners are intuitive, scientific or mathematical, which is very important in teaching. Because of modern education, the latter method may be easier for students to accept. 36.7 Art Gallery
2. "Deviation from the axis of this basic framework" actually expresses that stippling deviates from the center of gravity. For the vertical axis or up or down, for the horizontal axis or left or right, this deviation from the center of gravity produces a sense of tilt. At the same time, it can also be expressed that different distances from the center of gravity of stippling will also produce inclined dynamic potential. In other words, the gathering and scattering of stippling is also a means or factor to produce tilt. At the same time, the distance of stippling from the center of gravity also makes the weight of stippling change visually.
3, the centripetal movement or centrifugal movement of stippling, whether active or passive, shows that there is a kind of power in the word. This power comes from the combination of the main parts of stippling and the interaction between stippling outside this combination. According to this statement, we will find that each word will have a relatively dense area, and the stippling in this area and outside the area just constitutes a dynamic relationship of convergence and dispersion, and the source of this power is from the "hand of God"-oblique pulling. "The ancients were partial to the winner, and there must be a mechanism of dark pull." [33] Maybe that's what it means.
After we understand the principle of oblique painting, we will deepen our understanding of the theory and structure of traditional books and accelerate the formation of personal structure consciousness. As Mr. Hu Xiaoshi said: "Future generations are still upright, so it is extremely important to ask the temple to write for them. However, it is the book's bad luck that the speaker is still ill today. Not in ancient times. Zhou Shu, such as Yu Ding and Mao Dinggong, tend to the left. "Shi San Guo" is unique. The Northern Dynasties, such as Longmen Statue, Zhang Menglong, Jia Shijun, Diaozun and Cui Jingyang, were all left-leaning, and A?vagho?a Temple was even worse. Tang Ou's book leans to the left. But the viewer still feels right and has no anxiety. It is most important to cover the center of gravity. " [34] The understanding of the power of inclination depends on a comprehensive review of the development of calligraphy. However, to grasp the contrast and balance between stippling is to "focus on getting the center of gravity". 36.7 Art Gallery
Let's take a look at the two principles of grasping the structure-contrast and balance.
First, the principle of contrast
Mr. Zhang Qianyi pointed out in the book On Composition: "Contrast is the starting point of painting composition, the main means of expressing skills in painting art, and also the main means of expressing skills in all literature and art." [35] Calligraphy is no exception. In the book "On the Duality of China's Painting" co-authored by Dong Xinbin and Deng Qi, several pairs of categories about painting style are listed, namely, opening-closing, gathering-dispersing; Subject-object, dynamic-static; All-chaos, one painting-more painting; Virtual-real, sparse-dense, simple-complex, yes-no; Momentum, etc. And what is the dual category of structure in calligraphy? We can list some casually, such as the length, thickness, distance (density), inclination (positive) mentioned above, as well as opposition, straightness, escape, subject and object, weight, straightness and so on. In other words, there are contrast factors everywhere in calligraphy. These changes can be divided into yin-yang contrast, virtual-real contrast and dynamic-static contrast. For example, Cai Yong's "Nine Potential" said: "The number of volts originated in nature, naturally stood, yin and yang were born, and the situation came out." [36] As soon as the situation appears, there will be exhibition, density, reality and movement. As Yu Shinan said: "Although the word is qualitative, the trace is inaction, yin and yang move, and everything is tangible." [37] What's more, as Liu Xizai said in the book "Outline": "Painting has yin and yang, if it is horizontal, it will be yang and yin; Vertical is left as yang and right as yin. Only neat people can have both yin and yang, otherwise they will be lonely. " No matter how the predecessors discussed it, there is only one theme, that is, contrast is everywhere. This is what we should always pay attention to when posting or creating. Otherwise, "up and down flush", uniform, "is not a book". Copyright 367 Art.
Contrastive factors in the structure have different relationships because of their different types. For example, the length can be related to receiving-releasing and stretching-contracting. However, the length has little to do with the square-circle, and the square-circle has a close relationship with the curve-straight. How straight the square painting is, how curved the round pen is. But at the same time, there is a circle and a straight curve. For example, I wrote Stone Statue. However, looking at the edge of stippling, curves appear from time to time. Without the interaction of these contrasting elements, the artistry of calligraphy structure would not exist. It's just that the proportion of contrast elements varies from person to person and from book to book. The combination of various contrast factors reflects the calligrapher's aesthetic tendency, so talking about contrast is a principle, but actually a kind of consciousness.
What we call "eight-character hints" all reflect the relationship of contrast. Even the tilt is the same, the comparison of vertical and horizontal directions, the comparison of left and right tilt angles, the comparison of the tilt of the four sides of the box and so on. I won't go into details here.
Second, the principle of balance.
If contrast is about change, then balance is about the degree of change. That is, the problem of unity in change. There is no fixed standard for this degree, as shown below. The first three characters are Huang Tingjian's, and the fourth is Mi Fei's.
[38]
We can see that the "degree" of this balance is related to many factors, mainly focusing on the following points: 1, the author's style trend; 2, the working environment in which the word is located; 3. The writer's visual experience. However, due to space reasons, I am not going to talk about it. Just a summary. Copyright 367 Art.
On the unity, william hogarth put forward the viewpoint that "consciousness and purpose are compatible" in the book Analysis of Beauty. [39] The connection with calligraphy is the adaptive relationship between the author's aesthetic consciousness and his works. So what we need to learn in the post is the calligrapher's choice of structural style under his own aesthetic consciousness. We can study the structural style of a calligrapher, or we can choose calligraphers with great differences in style for comparative analysis. In this way, we will gain general knowledge of the structure.
Contrast is only a means, and the purpose is to balance the paintings after comparison. In other words, contrast is dynamic, while balance is relatively static. Dynamic is the change of potential, and static is the condensation of motion results. "Although the solidification of a word is like a painting, it is only a fragment of the movement process of things, but because of its power, it can be.
Observe its formation, and the movement trend and force shown by the potential. "[40] To understand this structural feature of calligraphy, it is very important to grasp the balance point of each stippling." As long as the center of a configuration is in perfect balance, the whole is at rest. This means that these centers restrict each other in this way. It just seems to stay where they are, even if they can move freely. We will never feel the pressure brought by the change of position or shape. ..... Watching the whole and its balanced parts is a dynamic experience. "[4 1] from which we can know the relationship between stippling and painting and what kind of harmony it is in a balanced state. Therefore, no matter how the structure of the ancient works changes, they all look so reasonable. 367art.com
Balance is an important part of our grasp of structure, and our experience is the dynamic balance between points. Balance is actually an integration of relationships. Understanding all kinds of dynamic relationships will help us find the generating characteristics of calligraphy situations and the key points of the relationship between structure and brushwork. And balance is precisely the embodiment of a calligrapher's ability to reconcile various dynamic relations, which is also the purpose of our structural training.
Finally, the application of the structural analysis model is illustrated.
There has been a special article on the training mode of structure, and here is a brief explanation of the use of this structural mode.
This model has a wide range of applications, which can be used in primary and secondary schools and also in professional training. Mainly depends on the object. Different objects extend to different depths. In other words, this is a very open system, which can expand, absorb and accommodate many things. From a certain point, we can sort out the corresponding subsystems. Therefore, comprehensive training can be carried out during training, and special training can also be carried out separately. The specific training plan can be mastered by teachers, and can be used flexibly for different objects, different training purposes and different training levels.
For example, when training long and short strokes, students can observe and study by themselves. You can also analyze the choice of the main pen, and further analyze the way calligraphers determine the main pen, the confirmation of the trend stippling, and the possibility of its change. The degree of specific in-depth analysis depends on the specific situation. The analysis of the situation in creation may be an opposite logic, that is, first analyze the characteristics of each stippling, then find the trend of stippling, then determine the main pen, and finally the distribution of other stippling. As for the density of each piece, we should analyze the combination trend of stippling in detail. In the analysis, we can naturally grasp the law of structure, and lay the foundation for our own structural combination according to personal aesthetics in the future. The content comes from 367art.com
There is one more thing to reiterate. When talking about structure, don't forget the connection with pen. Because the form of stippling depends on the pen, if we only start with the form analysis, the dynamic generation relationship inside calligraphy stippling will lose its foundation, and an important concept in calligraphy-"potential" will not be conveyed. Many Chinese descriptions are difficult to understand and may eventually lose their cultural connotations.