Pictures of regular brush calligraphy_appreciate regular brush calligraphy?

Regular script sprouted in the Western Han Dynasty and became popular in the Tang Dynasty. Xiaokai, Tang Kai and Wei Bei became the three main styles of regular script creation in Jin and Tang Dynasties. What I bring to you below are pictures of regular script calligraphy. I hope you like it. Appreciation of regular script brush calligraphy pictures

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Classification of regular script

There are three major systems of regular script according to the time of appearance:

1. Wei and Jin regular script: based on the Wei and Jin Dynasties, it mainly exists in the form of small regular script. Represented by the small regular script of Zhong Yao, Wang Xizhi and Wang Xianzhi, the emphasis is on the small regular script. For example, Zhong Yao's "Declaration Table", "He Jie Table", "Jian Ji Zhi Table", Wang Xizhi's "Le Yi Lun", "Huang Ting Jing", "Dongfang Shuo Painting Praise", Wang Xianzhi's "Thirteen Lines on the Jade Edition", etc. . At this point, let’s briefly talk about the selection of small regular script. When selecting posts in small regular script, it is recommended to follow the Wei and Jin Dynasties directly, not the Ming and Qing Dynasties. Why? The breadth and breadth are different. The small regular script of the Wei and Jin Dynasties is very free, with the feeling of big beads and small beads falling on a jade plate. The front is Zhuanli, which is a horizontal movement rather than a lifting movement. The overall performance is simple.

2. Wei Monument. This is a special phenomenon. It is a type of form dominated by the stele of the Northern Wei Dynasty. Later, this kind of form was generalized, and all calligraphy works of this type are collectively called Wei stele style. Its classification:

Moya: twists and turns, long-term mottled, mainly round pen, Zheng Wengong, Shimen Inscription, Zheng Wengong are more standardized.

Statue: The 20th grade of Longmen, square folded and square carved, sharp blade, Yang Dayan, Shi Pinggong.

Epitaphs: The epitaphs of the Sima and Yuan clans belong to the royal family and are relatively standardized.

Stele version: regular, such as Zhang Menglong.

Let’s focus on the Wei stele: the Wei stele is the first glory after the official script became regular script. The steles of Wei can be said to be of various shapes, the thickest is that of Shi Ping Gong, the most cursory is that of Ma Zhenbai, the most stretched is the statue of Yuan Xiang, among the twenty pieces of Longmen, the square one is that of Sun Qiusheng, each stele has its own style.

I just talked about the origin and classification of Wei stele. Let's go back and look at what Wei stele is.

What are Wei steles? They are all calligraphy works based on the styles and types of some steles carved in the Northern Wei Dynasty. The concept of time is weakened and the style type is strengthened. The stele in calligraphy is not a form, it is an aesthetic element. It is simple and powerful. Femininity and masculinity can interchange and intersect. For example, Cao Quan's stele uses masculine lines to express the feminine body. Chinese aesthetic philosophy is a dualistic philosophy, which is mutually exclusive and has a lot of gray areas between black and white.

Calligraphy is the feeling brought to people by lines and the spatial relationship of lines. The line itself contains stillness and movement, the strength and thickness of friction. There are changing lines in motion, and the light itself can bring infinite feelings to people, including calm lines, jumping lines, smooth lines, and stagnant lines. The amount of friction determines the difference between masculinity and femininity, that is, the line of large seal script and the line of small seal script in the history of calligraphy. Lines that tend to be masculine all use large seal script as the line style and technique. The lines that tend to be feminine are all in small seal script. How to increase friction, twisting, spiraling, and spiraling forces. When dealing with every stipple painting on the Wei stele, be careful not to go through it simply and then shape it, such as dotting, pressing, and pushing back, in three strokes to increase its sense of accumulation. Don't draw it, but give it a sense of volume. , increase friction. After twisting and wrapping, it should be done slowly, with a sense of volume, and the amount of ink should be sufficient. For example, when writing the "Shimen Inscription", one is to apply movements, which is a completely technical twisting pen. One is the complete execution of the brush, because the different routes taken during the execution naturally twist it. In short, it is necessary to wrap the front and increase the friction. The cohesion of the brush must be brought into play: draw horizontally and draw vertically, and draw vertically horizontally. Monuments have an expanding effect on our traditional writing. The casting effect and accumulation of lines cannot be achieved by ordinary writing with a brush. It requires us to adjust the writing technique of the brush. The performance of the brush is endless, it can be gentle and fluent, and it can The waves crashed on the shore. Each stippling corresponds to a movement of the brush. Musicians can convert the feeling of listening to the wind into musical notes, and calligraphers can also bring people spiritual feelings. All forms correspond to the movement state of a brush.

All the tangible will eventually lead you to the intangible, that is, the expression of feelings, the expression of aura, the expression of emotions. All technology is the stairs. You can't go upstairs without stairs, and you can't go up if you stay on the stairs. In the end, you must transcend technology. But now everyone is still climbing stairs.

In calligraphy, we should first do the essential things, grasp the core, and grasp the quality of the lines. Therefore, the focus of studying the Wei stele is to grasp the thread quality and its structural characteristics, and do not deliberately trace its knife carvings and stone flowers. The Yuan family belongs to the Huang family, and the Longmen family belongs to the people. Among the Wei steles, one is partial to engraving, one is between calligraphy and engraving, and the other is partial to calligraphy. The epitaphs of Yuan Huai and Dong Meiren are partial to calligraphy. We first select the ones that favor calligraphy when posting, and then filter them slowly.

The epitaph of Yuanhuai recommended to you today is biased toward books. First, its structure is close to our current regular script, which is straight and broad. Second, it has the typical characteristics of a monument, being square and simple. I prefer this category of books, which are easier to get started with and master.

Another copybook is Zhang Xuan’s epitaph. There are twenty lines of regular script, each line has twenty characters, totaling 367 words. Zhang Xuan's nickname is Hei Nu. To avoid the name taboo of Aixinjueluo and Xuanye, Emperor Kangxi of the Qing Dynasty, the people of the Qing Dynasty popularly called it "The Epitaph of Zhang Hei Nu". Its calligraphy is exquisite and ancient, its structure is flat, square and sparse, tight inside and loose outside, with many official meanings. Although this epitaph is a formal book, its writing style is informal, restrained, and naturally elegant. The brushwork uses both center and side strokes, and uses both square and round strokes to achieve a balance between hardness and softness. The vivid and elegant style can be called the masterpiece of Northern Wei calligraphy.

3. Tang Kai. This is a typical regular script. Tang Kai refers to the mainstream calligraphy style of the Sui and Tang Dynasties in which the regular script is fully mature and finalized. From the perspective of calligraphy, it is a popular or popular calligraphy style. However, Tang regular script is mostly a reference to later generations, and it is also the pinnacle in the history of regular script development. Zhiyong's Thousand-Character Essay, Ouyang Xun's Jiucheng Palace, and Yu Shinan's Confucius Temple Monument are still the Jin method. Starting from Chu Suiliang, Tang Kai was formed. In other words, they "inherited the legacy of the Northern Steles of the Six Dynasties, and pioneered the regular script of the Tang Dynasty". When it came to Yan Zhenqing, Liu Gongquan, Duobao Pagoda Stele, Yan Qinli Stele, Xuanmi Pagoda Stele, and Shence Army Stele, the promotion of the title became more and more obvious, rather than the horizontal movement. The way Jin people write is unintentionally consistent with the appreciation of calligraphy, that is, hanging on the wall. Jin people were in charge of the book. In the mid-Tang Dynasty, high tables and high chairs appeared, and there was promotion. From the Wei and Jin Dynasties to the early Tang Dynasty, the brushwork was all based on the natural movement of the hand, not the pen, using the wrist instead of the pen. It was not traced, but written naturally, just slightly to one side. Ouyang Xun and others used high tables and high chairs instead. The Book of Control, Chu was originally formed from the Tang Kai script, and it is no longer a translation. For example, Ouyang Xun, Yu Shinan, Yan Zhenqing, Liu Gongquan, Chu Suiliang, and Zhao Meng: one is their origin, and the other is their unique circumstances. For example, Yan Zhenqing's ancestor was Yan Zitui of the Northern Dynasty, so his calligraphy style has the blood of the Northern style of calligraphy, and his calligraphy contains elements of monuments.

The styles of Wei stele and Tang regular script are different, with three main characteristics:

Differences in style orientation: Most stele regular scripts in the Southern and Northern Dynasties are simple and naive, and are brilliant and innocent, such as "Cuan Longyan Stele" and "Cuan Longyan Stele". Monument of the Good King" and "Monument of General Guangwu". There is also a sense of stricter regular script and more powerful and majestic styles, such as "Zhang Menglong Monument", "Shi Ping Gong Statue" and so on. Most of the stone carvings on the cliff show tranquility and peace, and the atmosphere is peaceful, such as the "Taishan Diamond Sutra". There are also Xiaoshu openings, such as "Shimen Inscription", but the elegance and elegance of "Zhang Heinv's Epitaph" is comparable to the elegance and elegance of "Cao Quan Stele" written by Han Dynasty.

By the Sui and Tang Dynasties, regular script had matured, and the seal script and official meaning of Wei stele had been basically eliminated. The form became more formal, while Tang Kai became popular. Although Ou Shu is solemn and quiet; Yu Shu is broad and spiritual; Suiliang is agile and colorful; Yan Shu is broad and powerful; Liu Shu is compact and strong. Compared with the Wei stele, it has less natural meaning and is more rigid in legal regulations. The structure is relatively stable and less bumpy. However, Tang Kai's penmanship was proficient, meticulous, and strict, and it was not something that came after him.

Structural differences: Most of the characters on the Wei stele are almost natural and have the appearance of a child, but they are simple and unsophisticated, one tenth of the way to the "child's body". In contrast, the structure of Tang Kai script has reached perfection, and its visual aesthetic has reached a popular level. There are calligraphy theoretical works such as Ouyang Xun's "Thirty-Six Methods of Knotting", Zhiguo's "Ode to the Heart", Zhang Huaiguan's "Yutang Forbidden Sutra" and other calligraphy theories that analyze the beauty of tying characters. Perhaps it is precisely because of the agreement in the law that future generations respect Tang's law and dare not go beyond the thunder pool.

Differences in lines: The stipple paintings of Wei stele are simple and strong yet have a sense of flexibility, which is reflected in the tight movement of the lines. There are also some with strong and majestic squares and flying curves, which are completely different from Han Dynasty carvings. There is harmony and peace at the same time. There are so many features that it is difficult to list them here. Tang regular script has the exquisiteness and beauty of Europe, Suiliang is elegant and unrestrained, the face is rich and full, and the muscles of Liu are strong.

In the final analysis, the Wei stele is the line of the big seal script, and the Tang Kai script is the line of the small seal script. Let’s first grasp the most basic differences and then look at their different style orientations.

Regular script calligraphy pictures