Tai character regular script writing method
Different calligraphers would have different appearances when they wrote the word "Tai" in regular script. For example, Zhang Jizhi, Lin Zexu, Mai Huasan, Qigong, Xianyu Shu, Liu Honggui, Zheng Yunkui, Shen Chuanshi, Gao Zhenbei, Zhang Zeng, Su Ci's Epitaph, Zhang Heinu's Epitaph, Sima Shao's Epitaph, Yan Zhenqing and other calligraphers all had their own regular script writing method of writing the word "Tai".
Tai character writing method
According to the standard writing requirements of Chinese characters, the rule of the word "Tai" in the seven-ended grid was "up out of the inner frame, down out of the inner frame, left and right out of the inner frame". The specific stroke order was as follows: the first stroke was horizontal, starting from the corresponding position of the left positioning end and ending at the right positioning end; the second stroke was long, starting from the left side of the vertical midline, crossing the horizontal midline and leaving the inner frame; the third stroke was a point; the fourth stroke was long, starting from the upper part of the horizontal midline and leaving the inner frame at the right positioning end. The horizontal stroke was slightly higher on the right side, and the point was not connected with other strokes. When writing the word "too", one had to pay attention to the position of each stroke.
The Regular Writing Method of Baojia Immortal
The standard way of writing for a guardian deity was to use yellow paper. On the top was written the word " consecration ", in the middle was the name, and on the bottom was written the word " position ". On the left was written the word " ensure the prosperity of both wealth and life ", and on the right was written the word " ensure the peace of the four seasons ". The two corners on the top were going back to the nest, which meant that they were not recruiting soldiers. The guardian deity was usually worshiped in the northeastern countryside. It could be written on paper and pasted on the wall, or made of wood. There was usually no need to go through a ceremony to worship a family protector immortal, it was just a matter of writing the name of the sacrifice.
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!
The Writing Method of Songling and Heshou in Running Script
The writing style of the semi-cursive "Songling Heshou" had its own characteristics. The following were the writing characteristics of some calligraphers: - Xu Youbing's " Song Ling He Shou " had the style of running script. It was written in a very natural and unrestrained manner. It was vigorous and full of art. His stippling is crisp and beautiful, smooth and smooth. - Ren Zheng's " Pine Age Crane Longevity " had a style similar to the Chinese running-regular script. It was standard, rigorous, and dignified without losing its elegance. The structure was precise and in place, the body was wide, and the whole body was strong and beautiful. When different calligraphers wrote the semi-cursive "Songling Hushou", the strokes, structure, and posture would vary according to their own style. While waiting for the TV series, he could also read the exciting content related to this site!
How to praise a person for writing well in regular script
If a person's regular script was well written, it could be said that his or her regular script was very exquisite, beautiful, and had extremely high artistic value. They could also praise him or her for writing regular script in a very standard manner, with proper, smooth, beautiful strokes and a steady atmosphere. In addition, it could also be said that his/her regular script was written in a very natural and unrestrained manner, with a unique style and charm. In short, his/her regular script was written very well, with very high artistic value and aesthetic value.
Crow Character, Hard Pen, Regular Script
Zhang Hengcheng, Yan Ruimin, Yuan Qiang, Ding Qian, Zeng Qingfu, Jing Xiaopeng, Yu Xueren, Huang Huasheng, Hou Dengfeng, Pang Zhonghua, Zhou Bingyuan, Tian Yingzhang, Lu Zhongnan, Luo Hengguang, Wu Yusheng, Gu Zhong 'an, etc. all had examples of writing the crow character in regular script. You could learn more about the writing method of the crow character in regular script by looking at their hard pen calligraphy works. At the same time, when writing the hard pen regular script "Crow", the tip of the pen should be held in the direction of 11:00 to 10:30 (can be adjusted according to personal circumstances). "The Crow's Testimony" is equally exciting. Everyone is welcome to read it!
How to write the teaching reflection summary of the writing method of the military character running script
The following is an example of a reflection on the teaching of the "Bing" character: ##1. Teaching content 1. ** The effectiveness of stroke explanation ** - In the teaching of the writing method of "Bing" in semi-cursive script, we should pay attention to the relationship and difference between the beginning, running and ending strokes of each stroke and the strokes of regular script. For example, the difference between the first stroke and the regular script was that the semi-cursive script emphasized the resonance between the strokes. It was worth reflecting on whether to clearly convey this continuity to the students in teaching. As for the explanation of the vertical " shaking pen " writing technique, was it too complicated and caused some students to have difficulty understanding it? Perhaps he could explore a more concise and easy-to-understand way of expression so that students could better master this unique writing technique. - The handling of horizontal strokes, especially the angle of the long horizontal strokes and the changes in the strokes, were given enough emphasis in teaching. The balance of the horizontal stroke in the character and the relationship between it and other strokes, such as the characteristic of it pressing two vertical strokes and passing through, were fully understood by the students and reflected in their writing. - The explanation of the lower part of the "eight" character, the small stroke and the right point, needed to reflect on whether they highlighted their posture characteristics in running script, such as the short and powerful small stroke and the full right point, the angle slightly upright and slightly falling, whether they were accurately grasped by the students in the teaching process. 2. ** Teaching to grasp the structure as a whole ** - In the teaching of the semi-cursive structure of the word "Bing", we should consider the overall density relationship. For example, the upper strokes should be relatively compact, and the lower part of the "eight" character should be coordinated with the upper structure. Should the students be guided to observe and grasp this structural feature as a whole during teaching? The stability of the center of gravity of the whole character is the key to the structure of running script. In the teaching process, should the students understand how to achieve the stability of the center of gravity through the layout of strokes through demonstration and explanation? ##2. Teaching Methods 1. ** Demonstrations ** - When demonstrating the writing of the word "Bing" in semi-cursive script, was his writing speed appropriate? If the demonstration speed was too fast, the students might not be able to see the details of the strokes and the rhythm of the strokes. If it was too slow, it might make it difficult for the students to understand the cohesiveness of the semi-cursive writing. Also, whether the number of times of demonstration was sufficient, whether the demonstration was carried out from different angles, to ensure that the students could fully observe the writing of each stroke. - During the demonstration, do you convey the rhythm of writing to the students? There was a certain rhythm change between the strokes of the semi-cursive character, such as the weight and urgency of the strokes, which was very important to express the charm of the semi-cursive character "Bing". In the teaching, it should be reflected whether this sense of rhythm could be effectively integrated into the demonstration. 2. ** Interactivity segment ** - Whether the interaction with the students in the teaching process is sufficient. Did you answer the students 'questions about the writing method of the word "Bing" in a timely manner, such as the difficult to understand questions such as the conversion of strokes when connecting strokes? Would the interaction session stimulate the students 'enthusiasm and make them actively participate in the exploration of the writing method of the word "Bing"? Should students be encouraged to express their views on the structure and stroke processing of the "Bing" character in semi-cursive script so as to promote their understanding of semi-cursive writing? ##3. Students 'Learning Effects 1. ** Mastery of stroke writing ** - Through classroom practice and homework, observe the students 'mastery of each stroke in the semi-cursive writing of the word "Bing". Were there any students who had more problems with the angle and length of the skimming, the technique of the vertical brush, the shoulder resistance and smoothness of the horizontal drawing? For those students who did not master the strokes, they had to reflect on whether it was the problem of teaching methods or the individual differences of the students. For example, some students might lack enough basic calligraphy practice, which led to difficulties in learning the strokes of semi-cursive. 2. ** Understanding and application of structures ** - He observed the students 'writing of the word' Bing 'to see if they could grasp the overall structure. Whether the upper part was loose or the lower part was not coordinated with the upper part, this reflected the student's understanding of the structure. He analyzed the problems that the students had in the application of the structure. Was it because they did not understand the structure principle clearly, or because they lacked the ability to plan the overall layout during the writing process? ##4. Enhancement measures 1. ** Teaching content optimization ** - As for the explanation of strokes, he could create a more detailed stroke breakdown diagram or animation to show the trajectory and changes of each stroke in a more intuitive way. In the teaching of structure, more comparison and analysis could be introduced, such as comparing the correct structure of the word "Bing" with the structure of the word "Bing", so that students could understand the importance of structure more deeply. 2. ** Teaching method adjustment ** - In the demonstration segment, slow motion demonstration and partial zooming demonstration were added. At the same time, the details of the strokes and the order of the strokes were explained. In the interaction segment, more group discussions or one-on-one tutoring could be set up to answer and guide the students 'specific questions. 3. ** Personalized teaching implementation ** - According to the students 'mastery of the writing method of the word "Bing", they would be taught in different levels. For students with weak foundations, strengthen the practice of basic strokes and structures, and for students with a certain foundation, guide them to further explore the style changes and artistic expression of the "Bing" character. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
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!