Appreciation of official calligraphy banners

Lishu evolved from the calligraphy of the Qin Dynasty. The stippling of official script is simple and simple, with a straight structure. Beginners can easily master the essentials, which was particularly popular in the Han Dynasty. What I bring to you below is the appreciation banner of official script calligraphy works. I hope you like it.

Appreciate the calligraphy works of flag official script 1

Appreciation of calligraphy works of flag official script Figure 2

Appreciation of calligraphy works of flag official script Figure 3

Appreciation of calligraphy works of flag official script Figure 4

Appreciation of calligraphy works of flag official script Figure 5

20 ways to write official script well

1, horizontally long and vertically short

Where there is a horizontal knot in the middle or at the bottom, it is necessary to highlight the horizontal painting, which should be long and short, full and solid, but not bloated, so as to turn static words into dynamic art.

2, because the shape of the word is flexible.

The size, number and length of each Chinese character stroke are different. When writing, the height, width, size and shape of Chinese characters should be determined according to their characteristics and natural forms.

3. The upper cover should be wide and full of charm.

A glyph like Baoshou, which is wide at the top and narrow at the bottom, requires an inverted triangle, but its center of gravity is impartial. The reality above contrasts with the emptiness below.

4, the mainstay of horizontal short vertical long

In the middle of the knot, the vertical painting should be straight and written a little longer, so as to highlight the main position of the vertical painting in the knot and avoid short oblique. Writing is steady and powerful, like a strong pillar.

5, left small right big adventure

Due to the change of structure, some glyphs tend to write the left part small, while the right part big and long. At first glance, it is inclined, but in fact, it does not lose its center of gravity and is balanced and unified. This is the charm of calligraphy art..

6. Big left and small right

Some Chinese characters are written big on the left and small on the right. The left side converges to the right, the right side contracts and the left side stretches. The two parts, one big and one small, one high and one low, echo each other, much like the Commonwealth of Independent States.

7. Left and right avoidance complement each other.

Due to the complexity of structural strokes, some Chinese characters are prone to looseness and disharmony. Therefore, some strokes should extend to the left or right, so that they are neither crowded nor separated, so as to maintain the overall stability.

8. Big and small are more beautiful.

In some Chinese characters, the upper part should be wide and stretched, and the lower part should not be big. The specific knot characters should be treated according to their respective structures. Only when the upper part is wide and the lower part is narrow, the upper part is solid and the lower part is empty, can the artistic charm of China's Chinese calligraphy be displayed.

9. It is more stable to see the big from the small.

Some words, the lower part should be wide and stretched, and the upper part should be tight and short, like a triangle. Specific strokes should be handled according to their respective structures, and the bottom should be wide and narrow, solid and virtual, solid and dignified, just like the base of a building.

10, the right radical should be centered.

The right part of the word is very small, so the right part should be close to most of the left part and live in the middle. Remember to lean up or down, so that the whole word can have a sense of balance.

1 1, Yifeng should not be thin.

For words with few strokes and sparse structure, we should be rich and sparse. It is advisable to write thick and plump strokes, and the font has a sense of fullness, strength and generosity, and the shelf is correct and the strength is natural.

12, it should be thin but not fat.

Words with many strokes and wide structure should be dense, thin but not sparse, and the strokes should be slightly thin and tight. Pay attention to the symmetry of the frame structure when lifting the pen, so as not to make the structure feel cramped or loose.

13, the strokes should be obviously interspersed without adhesion.

For words with many cross strokes, pay attention to the spacing from top to bottom or from left to right, as well as the density, length and width of cross strokes. Intersections must not be crowded, strokes should be clear and interspersed moderately.

14, partial compromise and appropriate cooperation

The size of the left and right radicals depends on the size of the main part. If the main part is larger, the side part is slightly smaller. We should take care of each other, welcome each other appropriately, cooperate closely, narrow the width, make the small bigger, and coordinate and harmonize.

15, seeking common ground while reserving differences

When there are two or more parallel or overlapping glyphs composed of the same part, the writing of the same part should be different, so as to enrich and enliven the harmony and vividness of the whole knot with small changes in each part. Avoid morphological similarities, such as operators.

16, the painting distance is equal, and black is white.

For words with correct fonts and many strokes, the distance between strokes should be symmetrical and the strokes should be neat. Don't be too dense, too biased or too sticky in space. In order to avoid boredom and show lively dynamics, we must change flexibly according to different situations, make plans before writing, make appropriate arrangements, and make strokes as equal as possible.

17, seek right and balance in the middle.

For characters with skewed glyphs and strokes, it is necessary to draw skewed characters, work hard on stippling forms, center lines and support points, grasp the center of gravity, and seek truth in the middle, resulting in a kind of? An unbalanced balance? The visual effect of Chinese characters makes the form of Chinese characters flexible and changeable, giving people a lively and solemn feeling.

18, moderately complementary inside and outside.

The text around the structure should be uniform and full inside, not too big or too small, not too high or too low, centered rather than forced by the periphery. Pay attention to internal and external collocation and don't feel empty or bloated.

19, obviously interspersed with discounts.

The left and right parts of Chinese characters are opposites or opposites, so it is necessary to intersperse concession and its proper position, and intersperse it into a whole at the back, so as to achieve it? Do not interfere with each other, do not disperse? .

20. The horizontal line should be flat

The flat and wide characters should be natural, skillfully used, slightly flat and wide in structure, smart and full. It is necessary to prevent the strokes from being drawn too long left and right, and the upper and lower parts are pressed too flat.