The format and techniques of couplet writing

Format and Techniques of Couplet Writing

Couplets, also known as couplets, door pairs, spring posts, spring couplets, antithetical couplets, couplets, etc., are written on paper, cloth or engraved on Dual sentences on bamboo, wood, and pillars. The couplets are neatly contrasted and harmonious. They are a unique Chinese art form with one word and one sound. Couplets are treasures of Chinese traditional culture. Below are the formats and techniques for writing couplets that I have collected for you. I hope you will like them.

1. About the writing format of the couplets

The so-called format (or style, style) refers to the form expressed in the writing of the couplets. Although to put it simply, couplet calligraphy is a work of two lines written vertically, their expressions are not exactly the same, and the arrangement of the words is also different. As far as the format is concerned, the author tentatively summarizes it into the following four types:

1. Two "banner" style: The banner is a long work written in vertical lines, long up and down, narrow left and right, in a vertical style , is the most common and most frequently used format for writing couplets. Specifically, "banner" refers to cutting the entire rice paper in half vertically, or cutting it into three long strips, with the width being short horizontally and long vertically. It is posted, hung or engraved on the left and right sides. Since practical couplets generally have less text (as short as four or five words, as long as more than ten words), the main text on both sides can be written in one line from top to bottom. This kind of couplet calligraphy is widely used in studies, halls, buildings, shops, places of interest and exhibitions (see Figure 1).

2. Leaflet "nave" style: The nave is a relatively wide banner. As the name suggests, the nave is usually hung in the middle of the front wall of the living room of the house. Zhongtang refers to works written on the entire rice paper. Normally, the length-to-width ratio of the rice paper is 2:1, whichever is vertical. The size of the entire rice paper ranges from three feet, four feet, six feet, eight feet, etc. The whole piece of rice paper is laid out vertically without cutting it. The couplet is written on the left and right lines on one piece of paper and hung vertically. This style is commonly seen in bedroom decorations, calligraphy exhibitions, books, newspapers, magazines and the Internet (see Figure 2). According to tradition, the size of the couplets can be equal to the size of the nave (in terms of width), or it can be smaller than the size of the nave, but it cannot be larger than the size of the nave.

The above-mentioned banner style belongs to one line on one side (especially the main text), and the left and right forms a pair, with the top couplet on the right and the bottom couplet on the left, and cannot be reversed; the nave style belongs to a single frame with two lines. These two formats are generally suitable for writing short and medium couplets.

3. "Dragon Gate" style: Some couplets have several or even hundreds of characters. When writing such long couplets, the format must be processed using the "Dragon Gate" style. The characteristics of the gantry pair are: the upper and lower lines are at least two or even several lines. The upper lines are arranged from right to left, while the lower lines are arranged from left to right. The number of lines in the upper and lower lines is equal, and the number of words in each line is equal.

The last line of the upper and lower couplets cannot be filled, and there must be enough space for the signature. Because the two single couplets are facing each other and symmetrical to each other, forming the same double door, they are commonly called "gantry pair" (see Figure 3).

Using this format, you can write on the entire rice paper (in the nave style), or you can cut it into two banners and write separately. This should be chosen according to the actual use and occasion. If it is used to engrave the doorposts of archways, temples and other buildings, it must be cut into two slender lines for writing; if it is only used for hanging in the living room, or for exhibitions or printing, then it can be written as a whole nave style.

4. Qin pair style: Qin pair means that the couplet is concentrated on the upper part of the banner (about four-fifths or three-quarters of the length) and the text is placed below the couplet. Its shape A couplet like a piano (see Figure 4). Qin pairs generally have fewer words, usually four or five words, and generally no more than seven words. The upper paragraph is placed under the upper couplet, and the lower paragraph is placed under the lower couplet. This writing form is often used when there are few couplets and long paper. If there are few words, it will appear generous and eye-catching, while if there are too many words, it will be cramped and crowded. "Qin Dui" is usually written on two separate banners, or it can be written on one nave.

The above four writing formats all reflect the "bilateral symmetry" of the two lines in the form of upper and lower couplets. They are traditional writing methods that cannot be changed at will or deliberately innovated.

So, can couplet writing be expressed in other styles? The answer is no. If there is another form of couplet writing in reality, it can only be regarded as "couplet banner", "couplet sentence fighting square", "couplet fan", etc., rather than couplet calligraphy in the strict sense.

2. About the techniques of couplet writing and sealing

The technique or composition of couplet writing includes three parts: text, signature and seal. These are the three basic elements of calligraphy works. . The three are organically combined, closely related, complementary to each other and indispensable.

(1) How to write the main text

The main text is the main body of the couplet calligraphy, occupying the main picture, in the center and eye-catching position. Just like a person's face, it often determines the basic image of the entire person. Therefore, once the main text is written, the entire calligraphy work is more than half successful. To write a good text, you should grasp the following aspects:

First, the readability of the text. It means that it is easy to identify and makes people understand it at a glance. We know that couplet calligraphy has unique popularity, practicality and appreciation. Especially those couplets engraved on the doorposts of buildings are permanently in public view for people to enjoy and read, which must be known by people at a glance. If people can't even figure it out after guessing for a long time, no matter how good the content of the couplet is or how wonderful the calligraphy is, it will have no value of appreciation and existence. If calligraphers do not consider the specific occasion of couplet calligraphy, but blindly pursue the so-called artistic characteristics and individuality, and write the characters in such a strange and bizarre way that most people will not be able to recognize them after a long time, then the proper publicity effect will be lost. Therefore, we must fully consider the difference in the audience for the calligraphy (whether it is the majority of the general public or a small number of calligraphy experts). We must not just pick up the pen and write it in one stroke without thinking about it, regardless of the audience and purpose.

The second is the writing position of the word. The first thing that comes into people’s sight in a calligraphy couplet is the two lines of text, which are the main body and focus. Therefore, we should pay attention to the equal spacing between the upper and lower characters (that is, the center point of a single character) and the left and right symmetry. That is to say, when viewed vertically, the center of gravity of each character should be basically kept on a vertical central axis, and should not be skewed left or right; when viewed horizontally, the corresponding characters on the left and right should be basically maintained on a horizontal line, and should not be misaligned up and down to avoid a sense of instability. . The size of the characters should be basically balanced, and the contrast should not be too great. Especially for writing Gantry pairs, due to the large number of words and lines, each line must be flat-topped, so that it is arranged vertically in rows and horizontally in columns, so that it is neat and uniform, and the left and right sides are coordinated. For joint articles with more numbers, more attention should be paid to the neat and uniform vertical and horizontal arrangement, left and right symmetry and coordination. At the same time, the number of words in a couplet is inherently small. It is important to note that the top, bottom, left, right, and size of each word are basically the same and cannot vary too much. In order to avoid single boards, of course, you can make slight changes. It does not have to be written in the standard rice grid. The diameters and sizes are almost the same, but they must be generally balanced.

The third is the selection of fonts. Chinese calligraphy includes five calligraphy styles: seal script (oracle bone inscriptions, large and small seal scripts), Li (Han steles and Qin and Han bamboo slips), regular script, running script, and cursive script (Zhangcao, Jincao, and Dacao). Among them, the one between regular script and running script is called Xingkai; the one between running script and cursive script is called Xingcao. Generally speaking, they can be used to write couplets and create them again. However, we must fully consider that the practicality and ornamental value of couplet calligraphy must be consistent, adapt to local conditions, and treat them differently according to different objects and occasions. In terms of calligraphy art and practical effects, the fonts used for writing couplets should focus on practicality. Specifically, for couplets that have a large audience, are easy to identify, and can be permanently viewed, such as shops, archways, stone tablets, scenic spots, pavilions and other buildings, regular script, running script, and official script should be the main ones; as for seal script , cursive calligraphy (especially cursive calligraphy), etc., are generally suitable for occasions such as living rooms, book fairs and publications, as well as exchanges between calligraphers, which have a small audience.

Fourth, the structure and strokes of the characters should be clear and smooth. When writing couplets, the number of main characters is usually small. Therefore, the lines and strokes of each character must be clear and smooth, and there must be no traces of blurred lines, unclear intersections, ink burnt, dry or broken pens.

Especially for couplets that need to be engraved on wooden boards, bamboos, stone pillars, and stone tablets, if the writing is not done properly, it will bring difficulties to the sculptor's re-creation, and it will also be difficult to maintain the original appearance of the calligraphy work.

When writing a couplet, the main text is the main body and center. If you write one line from top to bottom on two single banners, you must make sure that the font is at the longitudinal center line and cannot be offset. If you are writing a gantry couplet, since the number of words and lines is different from that of a short couplet, you must calculate and fold the grid in advance, how many words vertically, how many words horizontally, and how many spaces are left in the last line of the upper and lower couplets for inscription, all must be arranged. Okay, don't be careless here.

A special reminder here is that due to the large number of words in the main text of Longmen, it cannot be completed in one line, at least two or even several lines. It is important to note that the last line of the upper and lower couplets cannot be full, and there must be enough left. There should be no space for the title; the number of words should not be too few. Compared with the number of written words in the adjacent lines, the length should generally not be less than one-third. If you only write one or two words, it will appear uncoordinated and lack of beauty. If you are writing a whole short couplet in the Zhongtang style, although the rice paper is not cut in half, the method is clear, that is, fold the paper in half lengthwise, and then fold the center line on both sides to determine the position of the text.

Let’s talk about the basic characteristics and different processing methods of the five calligraphy styles in detail:

1. Seal script. Seal script is the collective name for oracle bone script, large seal script and small seal script. Oracle bone inscriptions are characters engraved on tortoise shells and animal bones. They have a history of more than 3,000 years. They are the earliest legible characters passed down from generation to generation and were mainly used for divination by the ancients. The brushwork is thin, strong and straight, with many straight lines. There are square pens, round pens, and pointed pens, and there are many "hanging needles" in handwriting (see Figure 5). Dazhuan refers to bronze inscriptions, Zhou inscriptions, and Six Kingdoms inscriptions. They preserve the obvious characteristics of ancient hieroglyphics (see Figure 6). Xiaozhuan, also known as "Qin Zhuan", is the common script of the Qin Dynasty (see Figure 7).

Both the oracle bone inscriptions and the large and small seal scripts are independent and not related to each other, and they belong to a static calligraphy style. Among them, the small seal characters are relatively long and the stone drum characters are square, but the characters are all neat and even in size. Characters such as oracle bone inscriptions and bell and tripod inscriptions have differences in size, length, flatness, and straightness.

Seal script couplets are generally used in ancient temples and palaces to maintain a simple and solemn overall effect that is in harmony with the space of the times. The pen used in seal script should hide the head and protect the tail. The pen should be centered, round and turn freely, the lifting and pressing should be subtle, and the strength should be inherent. The brush stroke should naturally leave no trace, and the pen should be strong and strong.

The size of the characters in seal script couplets is generally kept consistent without major changes. The relationship between characters should be loose rather than tight. Be sure to leave a loose and comfortable character spacing to make the writing visible. , every word is eye-catching. The relationship between the upper and lower lines must be handled symmetrically and arranged neatly.

2. Official script. Official script reached its peak in the Eastern Han Dynasty, which was a major change in Chinese calligraphy replacing hieroglyphs with symbols. Among the representative works are the "Zhang Qian Stele", "Cao Quan Stele" and "Liturgical Stele", most of which are texts by ancient sages praising their merits. The main characteristics of the writing are "twists and turns, silkworm head and wild goose tail". Compared with seal script, the vividness is greatly enhanced; the structure is flat and square, and the sense of tranquility is greatly enhanced compared with seal script. The overall effect of official calligraphy couplets is dignified, generous, calm and quiet, and is more suitable for use in temple halls. The size of the knotted characters in the official script couplets is the same as that in the seal scripts. There is no big change and the shape of the characters is basically the same. However, the distance between words should be looser than that of other calligraphy styles, and the words in the upper and lower couplets should be symmetrical from left to right. The mature and stereotyped official script of Han Dynasty tablets is also a neat and static calligraphy style. The fonts are mostly flat and square, and the couplets occupy one space. Whether it is a square grid or a rectangular grid, the couplets are naturally in a horizontal position (referring to the gantry pair), that is, the vertical rows are closely spaced, the word spacing is large, and the horizontal columns are obvious. This is the unique form of official script, and the words can also be flat. Square grid, make the vertical and horizontal spacing basically equal, forming a uniform layout horizontally and vertically (see Figure 8).

The flat structure is a prominent feature of official script. In terms of composition, only bold whiteness can enhance its ethereal inspiration. Where there are words, it is solid, and where there are no words, it is virtual. The virtual and the real complement each other. If the flat Li characters are placed close together, they will look lifeless.

3. Regular script. Regular script is also called Zhengkai, Zhenshu, and Zhengshu. It gradually evolved from official script and became more simplified, with horizontal and vertical lines. It has a "square shape and straight strokes, which can be used as a model."

"Mainly refers to Tang regular script and Wei stele script (there are also Jin people's small regular script, script writing style, etc.), which is a standard, neat and static calligraphy style. When writing a couplet, the characters occupy one frame and the font size is basically the same (see Figure 9).

Regular script couplets are also suitable for solemn temples and solemn occasions. In addition to requiring the symmetry and neatness of the upper and lower couplets, the writing form must follow the principle of "giving shape to the characters". . If the characters in regular script couplets are neither big nor small, neither long nor short, neither light nor heavy, nor square nor round, there will be no artistry.

4. Running script is. It is based on regular script and incorporates some cursive script writing techniques, simplifying the complex and stippling, making the characters continuous and lively. The size of the characters can be expanded and contracted according to the situation, forming a beautiful, easy-to-read, easy-to-write, and highly practical and appreciative text. Script style (see Figure 10).

Because running script is between regular script and cursive script, there is more room for maneuver in the movement and flow of the style, so it can be divided into regular script and cursive script. Using regular script as the couplet, you can refer to the regular script composition, with vertical rows and horizontal columns, or vertical rows and horizontal columns, so as to make the lines compact. The horizontal and vertical spacing can also be appropriately relaxed, and the layout of the couplets can be smooth and relaxed, and the cursive couplets are unique. We can take advantage of the characteristics of continuous character momentum and free and lively structure. In terms of composition, we only seek the overall balance of the upper and lower couplets, the spirit and rhyme are connected, and they take care of each other. We do not seek symmetry of each character and part, so as to create as much unevenness and staggeredness as possible in the basic symmetry of the whole. Changes in composition can better bring out the artistry and expressiveness of cursive writing. However, it is necessary to pay attention to the fact that the beginning and end of the upper and lower couplets are basically the same. The weight, density, and length should not be excessively unbalanced, causing them to be inconsistent with each other, resulting in inconsistent styles and disarray. , destroying the basic requirement of symmetry and unity.

Running script has the widest range of application. It can be used in palaces, temples, ancestral halls, pavilions, study rooms, bedrooms, etc., because running script is beautiful and elegant. , easy to write and read, is the most popular calligraphy style. Therefore, when writing running script couplets, on the premise that the upper and lower couplets are basically symmetrical and neat, bolder changes should be made in the pen and structure than in regular script.

5. Cursive script. Cursive script is a style of writing that is characterized by simple structure and continuous strokes. It was developed on the basis of official script in the Han Dynasty. , Jincao, and Kuangcao. Zhangcao is an elegant cursive style that is compatible with early cursive scripts and Han official scripts. It has clear waves, the strokes are connected in a "wave" shape, the characters are independent, the characters are flat and square, and the strokes are horizontal (see Figure 11). At the end of the Han Dynasty, Zhangcao was further "cursed", and the traces of official script strokes were removed. The strokes of the upper and lower characters were connected, and the radicals were also simplified and borrowed from each other, which was called "Jincao" (see Figure 12). . In the Tang Dynasty, cursive writing became more indulgent, with continuous and sweeping strokes, wonderful glyphs, and various changes. It was called "crazy cursive", also called big grass (see Figure 13). Today, the aesthetic value of cursive script far exceeds its use. Value. Cursive script connects the dots and dashes of characters according to certain rules, with a simple structure and borrowed radicals. One of the main characteristics of cursive script symbols is that the strokes are connected with hooks, including up and down hooks and left and right hooks. The strokes of Zhangcao use the "one" shape, while the strokes of Jincao use the "S" shape. This is the fundamental difference between the two.

The written couplets are roughly the same as those in official scripts, that is, the characters are spaced well apart, and a large area is covered with white, which has a prominent virtual and solid effect. When writing a large cursive couplet, the characters in the upper and lower couplets do not have to be arranged neatly from left to right. The size and length of each character can be greatly adjusted according to the overall needs, as long as there is no big difference in the length of the first and last couplets.

Cursive script and seal script have the same characteristics, that is, they are difficult to identify, have low practical value, but have high artistic appreciation value. They are generally used for indoor appreciation. Therefore, it is not suitable to write practical couplets for public use, and it is even less suitable to write gantry couplets with a large number of words and more than two lines.

As for the practical range of different fonts, it is relative rather than absolute. Each style of calligraphy has a different style, some are elegant and dignified, some are simple and heavy, some are unrestrained and unrestrained, some are sophisticated and vigorous, some are mellow and delicate, etc. You can choose the corresponding style according to different circumstances and the writer's strengths.

(2) How to write the signature

The signature is the signature and title, which refers to the writing content in the calligraphy work other than the main text.

The signature includes: the source of the text content, the recipient of the gift, the reason for creation, the time of creation, the author's name and font size, etc.

There are two types of signature formats: "double paragraph" and "single paragraph". Double paragraph means that the recipient of the book and the writer are placed above and below the text respectively. The former is the upper paragraph and the latter is Next payment. The first paragraph states the name, source, and name of the recipient of the work; the second paragraph describes the year and month of creation, the place of creation, and the name of the author (see Figure 14). Upper paragraph: The position is relatively high to show respect, including name, title, and modest words. Next paragraph: Write the time, place, name, and modest words.

If there is a lower paragraph but no upper paragraph, it is called a single paragraph. A single paragraph may include the contents of the upper paragraph, or it may not include the contents of the upper paragraph. If there is no recipient for the gift of the book, just place a single payment (see Figure 15). Depending on the number of characters, single styles are divided into long styles, short styles, and poor styles. The long paragraph means writing the time, name, and place before the source of the text, plus the author's thoughts or reasons for creating this work. The text should be sincere and meaningful, making people endlessly pondering. It can not only adjust the focus of the work, but also reflect the author's character and accomplishment. The short paragraph only includes the source of the text, time, name, location, etc. If the work has a lot of blank space or is needed for composition, you can add a long section; if the content of the work occupies a large area of ??the screen, you need to add a short or poor section. If there is not much paper left and there is too little blank space, you can also just include the author's name and call it "poor money" (see Figure 16). The advantage of only paying the poor is that such works can be easily transferred, exchanged, auctioned, etc.

After long-term development, signature has become an inseparable part of calligraphy works, playing a supplementary, coordinating and contrasting role in the entire composition. Although the signature is not an important part of the work, the appropriate arrangement of the signature will directly affect the overall artistic effect of the work. The ancients said that "a wonderful word is worth a thousand pieces of gold", and the word "style" can often reflect the artistic accomplishment and creative quality of the writer. Therefore, when writing couplets, we must not only pay attention to the layout of the text of the work, but also work hard on the signature.

In addition to the above two basic signatures, there is also a full-coverage signature, that is, the left and right sides of the upper line and the left and right sides of the lower line are filled with inscriptions depending on the content. There are four lines. (Figures 17 and 18), this basically belongs to the category of "double style", so it does not need to be classified separately.

From the perspective of calligraphy, the title script is an important part of the composition of the work, which plays a role in coordinating, enriching and perfecting the overall composition. Therefore, we cannot ignore it because it does not belong to the main text, but should be included in the creative conception of the overall composition of the couplet. In a complete couplet calligraphy work, there is no need to inscribe the upper paragraph, but there must be a lower paragraph.

Whether a work should be of single style or double style, long, short or poor style should be used flexibly according to the specific situation. There is no fixed format.

When writing a couplet signature, you should mainly grasp the following points:

First, the font of the signature must be coordinated with the main text. The calligraphy font of the paragraph and the main body can be completely the same, they can be different, or they can be completely different. It needs to be decided according to the main body font. Generally, seal script is not used for official script, official script is not used for regular script, and regular script is not used for cursive writing. The traditional writing methods are "the ancient text reflects the present", "the text is correct and vivid", "the movement is not quiet", and "the present is not more ancient than the past". If Li, Wei, and Kai are used as the main text, then regular script and regular script are used for inscription; if large and small seal scripts are used as the main text, official script, regular script, and running script are used for inscription; cursive script inscription is generally not used except for the own cursive script because it is difficult to identify. At the signature. In fact, more signatures are usually written in running script, which is easy to identify and avoids rigidity. In addition, when writing in difficult-to-recognize fonts such as seal script, especially oracle bone inscriptions, an explanatory text is often added to the side of the text when signing to help with reading.

Second, the font size of the signature must be coordinated with the main text. The inscription of the paragraph must be smaller than the main text, and the size generally accounts for one-quarter to one-third. When writing the specific payment, the wording should also be determined according to the size of the blank space. If the white space is large and the typeface is too small, the center of gravity of the work cannot be stabilized; if the white space is small and the typeface is too large, the weight will be out of balance and the focus will be taken over.

Third, the upper paragraph cannot be flush with the main text. Generally, it should be one word lower than the main text and fall in the upper half; the lower paragraph cannot be flush with the main text. There should be a certain blank space. Generally, It should be in the middle and lower position, otherwise it will give people a dull and stuffy feeling.

Fourth, if the signature and the main text go together, there should be a gap between them and not be squeezed too tightly. The gap is generally about the width of one character.

When signing a couplet, under normal circumstances, the upper paragraph should be written on the upper right side of the first couplet, and the second couplet should be written on the lower left side of the first couplet, so that the upper and lower lines echo. However, some contemporary calligraphers pursue the ethereal and dynamic nature of their works, and like to raise the inscription position to the upper left half of the second line to create an upward-looking effect, which is also desirable. However, for the "gantry pair", the signing method is rather special. The upper paragraph of the gantry pair is written from right to left along the text and under the last line of the first line; while the lower paragraph is written from left to right along the text and under the last line of the second line. The last word of the upper and lower couplets cannot be flush with the last word of the main text. There must be at least one word left. Otherwise, the wording will sink too deep and look stuffy. Having said this, it is necessary to point out that when signing the gantry pair, sometimes there are too many words to write in a single line, so a double line signing appears. There are currently two different ways to deal with this kind of inscription in the calligraphy circles: one is to write the first couplet from right to left, and the second couplet to still be written from right to left (the left and right are not opposite). Some famous calligraphers are This proposition is held both in practice and theory (see Figure 19). The other is that the first line is written from right to left, while the second line is written from left to right (see Figure 20). So, which of these two formats is more scientific and reasonable? In my humble opinion, I am more inclined to agree with the latter. The reason is simple: because it maintains the consistency with the writing format of the upper and lower couplets, it appears more symmetrical, coordinated and consistent.

The double-line inscription on the gantry pair must be consistent and coordinated. It cannot be a double line for the upper payment and a single line for the lower payment; it cannot be a single line for the upper payment and a double line for the lower payment. And the number of words in the signature should be roughly balanced. In addition, the width of the double-line signature should not exceed the width of the text, otherwise it will not be consistent with the main body of the text.

3. How to seal

A complete couplet calligraphy work, in addition to the text and signature, also includes a seal. The so-called "seal" refers to a seal. Seal is the third link after writing the main text and signing, and it is also the last finishing process. Without the seal, it is not a formal, regular, correct, and perfect calligraphy work. If the seal is used well, it can add the finishing touch to the couplet calligraphy and add color; otherwise, the work will be abandoned halfway and all the previous efforts will be wasted.

Therefore, avoid rushing into things and calling it a day. You must treat it with rigor and caution to avoid regrets. Seal often has the function of adjusting and perfecting the white cloth on rice paper. Calligraphy works without seal can only be said to be semi-finished products. Seal is one of the essential calligraphy tools for writers. The seal referred to here is specially used for ink paintings (i.e. traditional Chinese paintings) and calligraphy works, and is different from other ordinary private name seals. The seal is usually carved from stone, and the font is usually carved from seal script (big seal script or small seal script). Therefore, understanding the general common sense of seals and using seals correctly is a basic skill that every calligrapher must possess.

Seals are divided into two types: Zhuwenyin and Baiwenyin. Zhuwenyin is also called Yangwen, that is, the characters are protruding, and the words printed on the paper are red; Baiwenyin is also called Yinwen, that is, the characters are sunken, and the words printed on the paper are white. According to the content of the seal, there are also name seals, fasting number seals and leisure seals.

How to seal? Specifically:

First, the next stamp must be stamped. A calligraphy work of couplets must be stamped with at least one seal (either Yin or Yang). This is the minimum requirement and minimum standard. The next paragraph must be stamped with the writer's name or font size (square). The size of the seal is equal to or smaller than the width of the inscription, and is generally one character apart from the last word of the signature. The lowest position of the seal should be higher than the bottom line of the last word of the text. You can cover one, or you can cover two, but covering more than three is not the finishing touch, but superfluous.

If two seals are stamped at the same time, it is best to use one in red and one in white to reflect the changes in yin and yang. It is strictly forbidden to have two red seals and two white seals next to each other. The upper and lower parts of the seal should be separated by no less than one seal position, and should neither be too crowded nor too open. The two seals should be the same size. If there is a slight difference, the small seal should be on top and the large seal should be on the bottom. The white text should be on top and the red text on the bottom. The two seals should be basically consistent in their seal text, composition, sword technique and style, and there should be no obvious contrast. It is best for the two seals to be square, not one round and one round. Do not stamp the second line after signing the second line.

The second is to seal the deposit. An idle seal is usually stamped on the upper right side of the first couplet, also known as the first chapter or the first chapter (there are round, vertical rectangular, vertical oval and irregular shapes). The location of the seal is generally in the space on the right side between the first and second characters of the main text of the first couplet. If the first couplet contains the name of the addressee or the person who wrote the couplet, do not add a hand seal to avoid creating a sense of depression and to show respect for the addressee. For example, in order to coordinate and enliven the picture, you can use a square stamp to stamp it after the couplet, but it cannot be stamped at the corner like a corner stamp for traditional Chinese paintings.

If both the upper and lower parts of the paragraph need to be stamped, they should reflect one red and one white, contrasting with each other and being full of changes; if there are too many characters at the bottom of the paragraph and there is no space, it can be adjusted to the penultimate character. on the left side, but not beyond the bottom line of the last word of the text.

The third is to be proficient in sealing techniques. There are two standards to check whether the seal is in place and perfect: first, the seal position is moderate and straight, and second, the impression is solid and clear. When sealing, you can put a small piece of rubber pad or book under the rice paper. After the seal is positioned, hold and hold the top of the seal with both hands to stabilize the center of gravity. First, apply force evenly vertically, then slightly tilt it up, down, left, and right, and press firmly. . Then remove the seal, hold the paper with your left hand, and gently lift the seal with your right hand. In order to strive for excellence when sealing, some calligraphers also use the right-angled notch of a small sealing guide (in the shape of "L" or inverted "T") to standardize the position of the seal. This can prevent the seal from slipping and keep it straight. The effect is clearly distinctive.

Writing a couplet into a calligraphy work is actually a creative process. It is not just a matter of copying it, it requires a lot of thinking. For example, although the joint text provided is ready-made, the content of the title is not. This involves how to inscribe the title, whether to use single or double styles, the number of words, what font to use, how to seal, etc. These are all Writers need to consider everything. Even if you are faced with a ready-made joint article, you must carefully consider it and think twice before writing. For example, traditional Chinese characters are usually used when writing, but it is not like typing on a computer keyboard and the traditional and simplified characters are automatically converted. You can just copy them. As everyone knows, the use of traditional Chinese characters has multiple meanings, and different word combinations have different usages, and cannot be simply applied. Otherwise, it is easy to cause some calligraphy masters to mistakenly write "film queen" as "film queen". "", "Fan Zhongyan" was mistakenly written as "Fan Zhongyan" and other jokes.

The final formation of a couplet calligraphy work, judging from the overall picture effect of the rice paper, whether it is a double page or a single page, there should be appropriate space on the four sides other than the glyphs. It should not be too crowded or too empty. Not to mention leaving no gaps on the four sides like ink painting, otherwise it will affect the beauty of the work.

As I finish writing, I would like to mention that there is also a type of couplets that do not require the use of rice paper, but are only written on ordinary red, white paper and other colored papers, such as spring couplets, elegiac couplets, wedding couplets, and housewarming couplets. Couplets, etc., due to their short practicality and timeliness, do not need to be signed or sealed, so they cannot be regarded as complete calligraphy works in the strict sense. I won’t go into details here.

To sum up, the writing of couplets is a secondary creation and a comprehensive art, involving many aspects of the calligrapher’s basic skills and artistic accomplishments. To meet the requirements in the above three aspects, firstly, choose good couplets so that the content is healthy, positive and consistent with the couplet rhythm, that is, the perfect unity of content and form. If the content is good but does not follow the rules of association, I would rather give up and not write it. Some calligraphers often do not screen or are not good at screening, and just copy and write as they come. The result is not only regrets, but also a source of ridicule. This should be taken as a warning.

The second is to appropriately arrange the writing format and choose fonts according to the length of the joint text and the place of use (this is very important). The third is to correctly handle the relationship between the text, the title and the seal, that is, to highlight the key points, distinguish the priorities, and take into account all three. Only in this way can a qualified or even excellent couplet calligraphy work be completed. ;