Hard-pen calligraphy is practical and beautiful, and regular script is recommended: Tian Yingzhang, Lu Zhongnan, Gu Zhongan and Qian Peiyun; Running script:,,, Shen Genhong, Gao Inheritance. All of the above are well known. Their calligraphy is well-behaved, full of the flavor of the times without losing the beauty of tradition. In today's hard-pen book world, many copybooks are written in commercial packaging. At first glance, their titles are not small, but their handwriting is average. The authors recommended above can look at their works online. They definitely have skills. And copybooks are basically available in bookstores.
The choice of calligraphy and copybook is very important.
In terms of fonts, there are seal script, official script, cursive script, running script, regular script, and the so-called "Weibei style". Which style should I learn first? In terms of glyphs, there are big characters, middle characters and small characters. Which role should I choose when practicing? As for the genre of style, there are more. Is there a step-by-step problem? Are there any rules that are easy to learn? I should say yes. Any kind of learning has to go through a process from easy to difficult, from shallow to deep, from simple to complex. This process is gradual. It conforms to the law of people's thinking and mastering knowledge and skills, so it is also a scientific learning law. The problem is how to apply it to learning calligraphy. Let's not talk about the step-by-step problem of mastering the structure and brushwork of temporary writing here, just talk about fonts and glyphs.
In terms of fonts, some people advocate starting with official script or regular script, and think that learning official script and regular script is conducive to training basic skills. Of course, learning from Wei Bei is also good, because it already belongs to the regular script category. If you start practicing from official script, you will naturally master the official script style, but if you master the basic skills of structure and brushwork from official script and become the basis of mastering each style, I think it is better to start from regular script. From the current beginner's point of view, most of them start from learning regular script, and the arrangement of regular script structure is only an intermediate stage. It evolved from official script. If regular script is flat and even, then dennis gabor's brushwork is official script. Writing regular script is simple running script, and writing running script is simple grass. If we start with official script, it is difficult to master the brushwork of regular script, because the brushwork of regular script is richer and more complicated than official script.
It can be seen that practicing the basic skills of regular script can be used as the basis for practicing calligraphy and writing various styles. With the basic skills of regular script, master the structure and brushwork of regular script, and then write regular script, official script, running script, cursive script and even seal script, you can get twice the result with half the effort. Regular script can enrich and change the structure of Weibei and Lishu, such as Zhu Suiliang's regular script; Regular script permeates human running script and cursive brushwork, which can increase agility, such as some regular script inscriptions in Zhao Mengfu. Some beginners are eager to practice running script and cursive script. Because they don't have the basic skills of regular script, although they write like a dragon and a phoenix dance, they don't have the basic font rules and punctuation skills, so they get twice the result with half the effort and take a detour.
What is suitable for beginners about small and medium fonts? Generally speaking, it is better to start with Chinese characters, which are two inches square, such as the mysterious tower of Liu Gongquan and the Shence Army Monument. It is easy to see the effect when writing small characters at first, because the font is small and the stroke spacing is small, so it is easy to master and control when writing. However, when you are used to writing small characters, when you encounter writing large characters, the stroke spacing of the frame structure is large, and it is difficult to master and control the strokes when writing, which is likely to be lax or tight and uneven. Write two inches square, there is room for stretching in writing big characters, and it is easier to master in writing small characters.
There are many famous regular script writers with different styles and schools. Some are rich and graceful; Some are tight and steep; Some lean on one side to show off; Some are tall and strong; ..... Beginners can choose a direction that is conducive to practicing basic skills and their future development according to their own personality and preferences, and they can also consider which style is conducive to practice according to their work needs. Nowadays, many people practice calligraphy and often choose one of the works of Ou Yangxun, Yan Zhenqing, Liu Gongquan and Zhao Mengfu as a model. In addition, the inscriptions of Yu Shinan and Zhu Suiliang in the Tang Dynasty are often used as demonstration posts for practicing basic skills. The basic skills of practicing regular script at the beginning naturally don't have to stick to these families, and many epitaphs are well written, such as Longzang Temple Monument in Sui Dynasty and Dong Epitaph.
The calligraphy features of Yan, Liu, Ou and Liu.
Yan, Liu, Ou and Liu are all calligraphers in the Tang Dynasty, which is the heyday of regular script. There are many calligraphers who are good at regular script. These three calligraphers can be said to be representatives of regular script in Tang Dynasty. Although the styles are different, each has its own characteristics, but its regular script is neat and rigorous, suitable for beginners to carry out basic training in structure and brushwork. Zhao Mengfu's calligraphy in Yuan Dynasty pursues the brushwork of Jin and Tang people, with compact structure and charming style, which is also very popular among people. Now only the characteristics of the structure and brushwork of these four schools are introduced as follows:
Ou Yangxun, a calligrapher in the early Tang Dynasty, was famous for being good at regular script. "Old Tang Book" said: "Inquire about Wang Xizhi's first-time books, and then gradually change his brushwork, which is dangerous and powerful, and once it is done, people have their faith or think it is a model." It shows that in the Tang Dynasty, he studied with Chinese characters as a model. European-style knot uses side leaning, that is, the strokes are arranged to lift the right shoulder slightly, and the strokes are very close and dangerous. The so-called adventure, that is, the change of strokes, length, thickness and virtual reality of a point is both ingenious and just right, and a slight change will destroy its integrity. Fang Bi is the main brushwork, with abrupt turning, sharp edges and strong brushwork. Form a dangerous style with tight structure, strong brushwork and high solemnity. This is suitable for practicing basic skills. But it is precisely because of his tight and dangerous structure and brushwork that it is difficult to change this style. His regular script works are most famous for "Jiuchenggong Liquan Ming". In addition, Huadu Temple Monument, Huangfuyan Monument and Yugong Monument can also be written temporarily.
Yan Zhenqing was the most creative calligrapher in the Tang Dynasty. He left more than 20 regular script tablets, which showed the process of his continuous exploration and change of calligraphy style. Yan Zi's flat structure, looking at people from the front, is as plump as a Shandong man sitting in danger, which is the characteristic of the positive structure of Lishu. The strokes are symmetrical and even, light horizontally and heavy vertically. The two vertical pens in the box are written in circular arcs, just like two outward bows. The brushwork is mainly round pen, with softness and rigidity. The so-called cotton-coated iron. The main turning point is that the round pen can't come out, the horizontal painting is generally flat, and it is rarely exposed when the pen stops. Form a magnificent style. To learn Yan characters, first, pay attention to the structure and don't write loosely; Second, we should not only pay attention to the richness of strokes, but also pay attention to the inner strength of muscles. Many of his stone monuments have been preserved, such as the early Duobaota Monument, the later Li Yanqing Monument and the Yanjia Temple Monument. The former is not obvious in its own style, while the latter two monuments are mature in their own style. In addition, there are oriental paintings, Eight Official Pavilion, Magu Xiantan and Zhongxing Ode. Although the style of each monument is slightly different, the overall style is the same.
Liu Gongquan was a calligrapher in the late Tang Dynasty, and his calligraphy was very famous at that time. The Book of the Old Tang Dynasty called his book "The Diamond Sutra Monument of Shangdu Ximing Temple, with the style of Zhong (Zhi), Wang (Ou () Heather and Lu (Cambodia)" and called his calligraphy "graceful and unique". It can be seen that his calligraphy was influenced by the calligraphy school of the two kings in the early days, and then he became a family. Song Jiangkui's "Continued Book Spectrum" said: "The brushwork is different from that of the ancients, and commenting on the two schools is one of the changes in calligraphy. "This shows that Yan and Liu are different from the two kings school in history in combination and brushwork, and they have changed and innovated. Compared with Yan Shu, Liu Shu's lateral structure is a little odd, with her right shoulder upturned and her left tight and right comfortable, but it is not obvious and generally balanced. In the structure, the palace (referring to the central part of the stroke) is tight, the limbs are stretched, and the upper, lower, left and right points extend outward, while the center, that is, the stable part supporting the center of gravity of the word, is extremely tight. The brushwork adopts Fiona Fang's combination, and the horizontal painting turns into horizontal painting. When the pen is closed, it is pressed after a pause, which has the tendency of swallowtail. The pen is thick, and the vertical painting of Box 2 is slightly bent due to the influence of Yan characters. Except for some horizontal strokes and long strokes, other strokes are relatively symmetrical.
Generally speaking, Liu characters are influenced by Yan characters, but they are not as thick as Yan characters. It is stronger and more vigorous than the word Yan, giving people a close aesthetic feeling and embodying the spirit of the so-called "six valleys". Liu Shu writes vigorously, horizontally, vertically, hooked, skimmed and pressed, and has his own set of procedures for entering, turning and receiving pens. There are more than ten kinds of inscriptions on his regular script, including the Diamond Sutra unearthed in Dunhuang in his early years and now circulating in France, and his later works include Mysterious Tower and Shence Army Monument. These inscriptions can best reflect the characteristics of Liu Shu and are the best models for learning from Liu Shu. The rubbings of other works are damaged greatly, which is inconvenient for study.
Zhao Mengfu was a master in Yuan Dynasty. Historically, he was a leader in calligraphy, calligraphy, calligraphy and cursive script, especially in modern times. Zhao Shu is a beginner, in Wang Xizhi and middle school, and was born late in (Yong). Basically, he is the calligraphy school of the two kings. The knot is horizontal, the left is tight and the right is relaxed, and the right shoulder is raised. When drawing horizontally, the strokes are smooth and the end stops. Sometimes, use the calligraphy style, and use Fang Bi. The Gui angle is obvious, and the strokes are quite light and heavy. Generally, the brush strokes are thick and skillful, which has an elegant and charming taste. It is easy to learn from Zhao Zi, because his structure is beautiful, but his skeletal strength is weak. His regular script works are many, such as the tablet of Emperor Danba, the book of Triple Doors (ink calligraphy), the view of praying for the gods, and the tablet of Zen master in Tiger Hill and Dragon.
In addition, it must be noted that beginners mainly learn regular script, but there is no end to it. How can we practice basic skills before learning other subjects? Of course, this can't be absolute. Learn the basic brushwork of a family as a whole, and practice other styles at the same time, according to personal hobbies and actual needs, such as running script, official script and Weibei. It is practical and can be used for bookmark titles, plaques, couplets, etc. At present, only cursive script and seal script are mainly used for viewing. Because these two books are not annotated, it is difficult for ordinary people to recognize them.
Fourth, other tablet computers available for research.
Generally speaking, all kinds of inscriptions and calligraphy can be used for reference, but for beginners, it is better to choose works suitable for practicing basic skills and distinctive styles as practice models. There are a lot of ink on the inscriptions of various styles and styles, and some of them are listed for reference.
In addition to the above, there are regular script inscriptions, such as Zhu Suiliang's A Que Buddhist Shrine Monument in Tang Dynasty, Yu Shinan's Confucius Temple Monument, Wang Jushi's Brick Pagoda Monument, Master Meng's Monument, Tang Guifeng's Monument to the Zen Master, Zuiweng Pavilion, Fengle Pavilion, Su Shi's Diamond Sutra in Song Dynasty, Huang Tingjian and so on.
The lower case has the writing methods of Confucian Classics in Wei and Jin Dynasties, such as Huang Tingjing, Yue Yi Lun and Cao E Bei by Wang Xizhi, the thirteen lines of Luo Shen Fu by Wang Xianzhi, Ling Fei Jing Shan Jie Du by Chu Suiliang in Tang Dynasty, Huang Tingjing by Zhao Mengfu in Yuan Dynasty and Luo Shen Fu by Zhu Yunming in Ming Dynasty.
There are many inscriptions in the running script, such as Preface to Lanting Pavilion by Wang Xizhi, Preface to the Collection of Imperial Orders by Tang Huairen, Manuscript of Yan Zhenqing's Sacrifice to His Nephew, Contention for Seats and Uncle, Monument to General Li Beihai Yunhui, Monument to Hawke, Monument to Lushan Temple, Postscript to Jiuhua in Yang Ningshi and Sushi.
Some cursive scripts are Reading a Post, Ke's Urgent Chapter and Deng's Urgent Chapter. There are Seventeen Posts by Wang Xizhi, Thousand Characters by Zhi Yong, Shu Pu by Sun, Four Posts of Ancient Poems by Zhang Xu, Autobiographical Posts by Huai Su, Fish Eating Posts and Thousand Characters by calligraphers in Song, Yuan, Ming and Qing Dynasties.
There are many inscriptions on official script, among which the famous ones are Li Qi, Chen Shiqian, Fang Heng, Huashan, Cao Quanbei, Zhang Qianbei, Confucius Temple, Xian Yu Huang Bei, Miao Yin, and selected books of bamboo slips unearthed in various places.
Wei steles are engraved with Longmen 20 products, Shangxia stele, Zhongyue Songshan stele, carved epitaph, Zhang Menglong stele, Gao Zhen stele, Zhang Hei female epitaph, Huashan stele, Shimen ode and so on. During the Southern Dynasties, such as the tablet of Yan Long, the epitaph of Xiao Rong and his wife, the inscription of He Bei and the tablet of Xian Bao Zi.
Seal script posts, such as Zhong Ding inscriptions, seal script and Xiao seal script, such as Taishan stone carving, Langyatai stone carving and Han tablet, such as Yuan 'an tablet, Han tablet, Tianfa Oracle tablet and tablet, as well as seal script posts of Li in Tang Dynasty and Deng in Qing Dynasty.
These are just a few popular inscriptions in different styles.