Guo Shangxian's Regular Script
Guo Shangxian (1785 - 1832), Fujian Putian people, Jiaqing fourteen years (1809) Jinshi, official Dali Temple Qing. Its regular script had unique artistic characteristics and value. Guo Shangxian's regular script was based on Tang regular script, which was a combination of scripture writing techniques. For example, when he was forty-one years old (the fourth year of Daoguang of Qing Dynasty, 1824), he recorded the Regular Script Huangting Internal Scenery Scripture. The strokes were vigorous and firm, the style was broad and elegant, and it had the charm of the Spirit Flying Scripture. His regular script was mostly copied from Liu Gongquan's calligraphy. The font, frame, and bone strength all had the meaning of Liu Gongquan's calligraphy. The strokes were exquisite and skillful, and both elegant and popular appreciated it. It integrated the ancient simplicity of the Wei and Jin Dynasties with the momentum of the Tang Dynasty. It wrote the highest level of pavilion style since the Ming and Qing Dynasties. It was dignified and rigorous and integrated into its own style. His handwriting was similar to Ouyang Xun's. He excelled with his strength and interweaved small regular script. It was quite interesting. He copied it from many schools and was praised as the best small regular script of the Qing Dynasty. He even had the reputation of "the most beautiful small regular script in 500 years" and the first small regular script of the Qing Dynasty. His regular script works, such as Guo Shangxian's Regular Script Huangting Internal Scenery Scripture, and Guo Shangxian's Regular Script Zhu Fuzi's Motto of Family Management in Qing Dynasty, reflected the above-mentioned artistic features. "Oh, My Yao" was equally exciting. Everyone, please click to read it!
Liu Gongquan's Regular Script
The characteristics of Liu Gongquan's regular script were vigorous, steady but not ordinary, dangerous but not strange, old but not withered, moist but not fat, harmonious and charming. His strokes were even, hard, and thin, with exposed edges and corners. They were rich in variation, avoiding monotonous repetition. Most of the horizontal paintings are square and round, with strong bones, clear starting and ending, short horizontal thick, long horizontal especially slender, delicate and beautiful. The vertical painting is powerful, tall and thin, concise and solid, sharp strokes, heavy and short strokes, and clean strokes. On the whole, it was introverted and outward expansion, the middle palace tightened, and the limbs spread out. In the rigorous, it showed a loose and open demeanor. Liu Gongquan's regular script started with Wang Xizhi, and then he extensively dabbled in the works of famous masters of the Sui and Tang Dynasties. Then he mastered them, brewed changes, and finally came up with new ideas, becoming a master.
Mu's Regular Script Writing
Mu for the left and right structure, in the regular script on the left and right display. On the left side of the "San", the whole body is slanted to the left, and the strokes are connected. The first skimming point should be written full and not long; The second point should follow the sharp tip of the first point, bring out the point and then point downward; The third point is the point, a little far from the second point, cut the pen and raise it, not long, pointing to the right side of the first point. On the right, the word "wood" was written vertically and stretched. Pay attention to the position of the pen in the horizontal painting. The pen should be large and shoulder-resistant. It should not be long or heavy. The vertical pen should be high and slightly heavy. The center should go down and pass through the middle of the horizontal painting. The vertical body should be slightly bent. The middle part should be slightly thin. It should be strong and powerful. The lower part should be slightly long. When the pen is retracted, it can be used as a small hook. The pen should be picked up at the intersection of the horizontal and vertical strokes. The body should be slightly straight. Pay attention to the angle of the pen. Gradually, the pen should be gently picked out. It should be strong and powerful. Pay attention to the position of the tip of the pen. The starting position of the pen was slightly lower, starting from the vertical pen. The angle of the pen was basically symmetrical to the pen, gradually heavier, and the corner of the pen was basically flush with the tip of the pen, smooth and dignified. In addition, the word "Mu" written by different calligraphers such as Yan Zhenqing, Liu Gongquan, Ouyang Xun, Weng Kaiyun, Qigong, Tian Yingzhang, Huang Ziyuan, Chu Suiliang, Zhang Yuzhao, etc. also appeared in the regular script calligraphy dictionary, each with its own style and characteristics. While waiting for the TV series, he could also read the exciting content related to this site!
Regular script copybook
Regular script copybook referred to the copybook of Tang Kai Yan Zhenqing's handwriting. Regular script copybooks could be used to learn and practice the calligraphy skills of regular script. Yan Zhenqing's works Sima Yan and Tian Yingzhang were one of the representative works among the regular script copybooks. The characteristic of regular script was that it was in line with the aesthetic habits of the public. The lines were smooth, the structure was well-proportioned, and the overall style was consistent. The purpose of the regular script copybook was to help the learner quickly master the basic skills of regular script and be able to apply them to practical writing. Some websites provided regular script copybooks for download and appreciation. At the same time, some calligraphy enthusiasts and experts recommended some introductory regular script copybooks and courses.
Small Regular Script
In small regular script calligraphy, there were certain essentials to writing the word "history". In terms of structure, the mouth part is flat, and when writing, you need to pay attention to the angle of compression on both sides; the vertical part in the middle should be vertical, and the left part should be horizontal, and the corner should be sharp; the flat part should pay attention to the shape of the head, back and tail. In different small regular script works, such as Wen Zhengming, Zhao Mengfu and other calligraphers, the word "history" also reflected their own style and characteristics. The word "history" in the "Ling Fei Jing" could not be big, the shape was wide and flat, and the angle was shoulder-length. The vertical stroke was slightly higher in the middle, the stroke was thicker, and the stroke was slightly lower. Watching " Wild Child " wasn't enough. Everyone, please click to read the novel!
running-regular script
Xingkai, also known as the " Handwritten Xingkai of Chinese characters ", was a font between regular script and running script. It emphasized the writing style of regular script, which was more free than regular script and more regular than cursive. Xingkai was a font that simplified the strokes on the basis of regular script, strengthened the writing belt, and expressed the interest of writing to appropriately speed up the writing speed. It would change the writing stroke order a little, and it had strong characteristics of being easy to read and learn. It could be seen as a simplified, linked, and sketched version of regular script. The font was too stable and created a visual posture of seeking movement in stillness. In daily life, running-regular script was more practical. For example, children might get extra marks on their essay papers after practice, and adults would be more stylish after practice. It was also suitable for daily handwriting. There were many kinds of Xingkai font, such as the Fiery Xingkai font, the Mini Fine Xingkai Art font, and the Chinese Xingkai font. When practicing calligraphy, there were practicing calligraphy posts in running script to choose from, as well as practicing calligraphy methods such as the 3-step running script. However, due to the casual nature of the running-regular script, the difficulty of learning it was no less than that of regular script. When learning, one had to proceed step by step, taking into account many factors, such as stroke order, typos, the writer's learning attitude, etc., so as to achieve the effect of writing standard, beautiful, convenient, and smooth. The novel "Song of Everlasting Sorrow: Morning and Evening" is equally exciting. Everyone is welcome to click and read it!
Chinese regular script
Regular script was also known as Zhengshu, Zhenshu, and Zhengkai. It was a calligraphy style that evolved from official script and Zhangcao. Its structure was rigorous, the strokes were neat, the rules were strict, and the writing standards were strong. It was respected as a model and French style by people, hence its name. Together with the seal script and official script, it was called the " official script." Regular script began to sprout in the Han Dynasty. It matured and formed a standard style in the Wei and Jin Dynasties. In the Tang Dynasty, there were various styles of regular script." Tang Kai " established the rules of regular script and reached its peak. After the Song Dynasty, the regular script gradually became neglected, mostly inherited from the previous generation. In modern times, due to the lack of calligraphy education and the intervention of the market economy, the development of regular script was relatively low. Regular script represented many characters and works, such as Ouyang Xun's "Jiucheng Palace Liquan Inscription", Yan Zhenqing's "Magu Immortal Altar Record", Liu Gongquan's "Mysterious Tower Stele", Zhao Mengfu's "Three Gates Record" and so on. There were also Wen Zhengming's Ode to the Guqin, Zhong Shaojing's Spiritual Flying Sutra, Yan Zhenqing's Pagoda Stele, Xu Yuanli's Records of the Wu Clan's Ancestral Hall Rebuilding, Gao Wei's Preface to the Tengwang Pavilion, Lu Qicheng's Records of the Small Window by Chen Meigong, Shen Yinmo's Heart Sutra, Fan Zhongyan's Praise of Taoist Clothes, and Lin Zexu's Lin Wenzhong's True Calligraphy of the Immeasurable Longevity Scripture. The following points should be paid attention to when writing regular script: - In terms of density, the strokes of Chinese characters form a contrast of density. The dense parts of the characters are often the spirit of the characters. Highlighting the dense parts helps to grasp the structure of the characters. - In terms of form, one had to anticipate the shape of the character before writing, and establish an impression of the structure of the character in their mind, so that the intention was written first. - As for the main writer, after Tang Kai, the consciousness of the main writer was very important to write regular script well. Long strokes and large strokes were the main strokes. When writing, one had to distinguish the primary and secondary strokes. When observing the font, remembering one to three main strokes was helpful for writing. The fountain pen regular script exercise had the following characteristics: - Pay attention to how to use the pen: The regular script strokes of the fountain pen have different methods of using the pen, such as titon, hiding the dew, square, fast and slow. Different methods produce different line shapes and texture. Because the font is small and the thickness of the lines does not change much, the method of using the pen must be strictly practiced when writing. Otherwise, it is easy to have problems such as weak or stiff strokes. - Clear strokes: Each stroke must be clearly explained, neat and tidy, clean and not sloppy. At the same time, there must be an internal resonance between the strokes to achieve an orderly start and end, clear strokes, solid and powerful, stop and not stop, straight but not stiff, curved but not weak, smooth and natural effect. - The structure is neat: It focuses on the balanced distribution of strokes and the first part of the character, the stability of the center of gravity, the appropriate proportion, the correct shape of the character, and the standard arrangement of the characters. The size of the characters is symmetrical and the lines are neat. Although there are uneven changes in the shape, the overall order is neat and tidy.
Guo Moruo's Poetry and Script
Guo Moruo was a famous modern Chinese poet and drama. His poems and plays cover a wide range of lyric, narrative, dramatic, symbolic and other elements, with unique artistic charm and far-reaching influence. Guo Moruo's poems included Goddess, Tengu, and Wild Night, which were famous for their unrestrained imagination, peculiar ideas, magnificent language, and profound thoughts. His poetry style was full of romanticism and modernism, which had a profound influence on the development of modern Chinese poetry. Guo Moruo's scripted works, including Qu Yuan and Under the Neon Lights, were widely praised for their strong dramatic conflicts, vivid image creation, profound ideology and unique artistic style. His plays not only left an important mark in the history of Chinese drama, but also had a profound impact on the world drama. Guo Moruo's poems and plays have extremely high artistic value and ideology. His creative ideas and artistic methods have also had a profound impact on the development of modern Chinese literature and art.
The characteristics of cursive script, semi-cursive script, regular script?
The characteristics of cursive script were: 1. Fast speed: The cursive script is the fastest art form in Chinese calligraphy. The writing speed is very fast, and the strokes are often connected to form a variety of shapes. 2. The beauty of form: The writer of cursive script pays great attention to the beauty and artistry of the glyph. It pursues a kind of beautiful realm. 3. Successive strokes: The strokes of cursive script are often coherent and there is no obvious boundary between the characters. The characteristics of semi-cursive: 1. Flowing and free: Running script is the fastest form of calligraphy. The writing is smooth and free. There is no obvious boundary between the characters and there are many changes. 2. Harmonization: The font and strokes of semi-cursive script are coordinated and varied, but the overall look is very harmonious. 3. Gentle and tactful strokes: The strokes of running script are gentle and smooth. Writers often use curved strokes and curves to save the country. The characteristics of regular script: 1. Dignity and preciseness: Regular script is the most dignified and rigorous art form in Chinese calligraphy. The writer pays great attention to the standard and correction of the glyph. 2. Stroke specifications: Regular script's stroke specifications are neat and tidy. Writers often use clear strokes and strict stroke requirements. 3. The structure of regular script is rigorous. The relationship between symmetrical strokes and glyphs is very rigorous and there are relatively few changes.
Regular script, official script, cursive script... The problem! Anxious!
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Yan Zhenqing's Introduction to Regular Script
Yan Zhenqing's Introduction to Regular Script was a tutorial suitable for calligraphy enthusiasts to self-study and calligraphy training. He could find many textbooks and copybooks related to Yan Zhenqing's regular script, such as Yan Zhenqing's regular script tutorial, Yan Zhenqing's regular script introductory copybook, and so on. These courses included the basic strokes, structure, and posture of Yan Zhenqing's regular script. They also provided the word 'Fan' and practice materials for the learner to use. In addition, there were also some courses that provided Yan Zhenqing's learning methods and techniques, such as the steps of learning Yan Zhenqing's regular script, the choice of pen and paper, etc. In general, the Yan Zhenqing Regular Script Introduction Course was a guide and learning material to help beginners learn Yan Zhenqing's regular script.