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6288hg.COm Yang Mingchen, Director of Book Association: See you in lower case

Yang Mingchen, Director of Book Association: See you in lower case

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Associate Director Yang Mingchen: See you in lower case
(2012-11-05 11:48:21)
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Yang Mingchen, Director of Book Association: See you in lower case
Judging from the submissions of the National Calligraphy Contest in recent years, there are thousands of works in lower case. It can be seen that lower case is still a style of calligraphy loved by calligraphy lovers. However, many people focus on the choice of writing content, the production of the work form, and the change of the glyph, but they ignore one of the most core issues, that is, the use of a pen. Those who seek thickness are swollen and astringent, those who seek spirit are more floating and boneless, and there are few calm and vigorous works. As everyone knows, the key to calligraphy is to use a pen, especially in lower case. From the Han and Wei Dynasties to the Ming and Qing Dynasties, the calligraphic sages of all dynasties paid great attention to the use of pens, and were highly controversial. In the Song Dynasty book contributor Jiang Xun's "Continuation of the Book", he wrote a section on "using pens". Yuan Zhao Songxue even said that "words are passed down from time to time, and pens are not easy to use for ever." Qing Qing Liu Xizai talked more directly: " The book re-uses the pen, and it is used by others, so those who are good at the book use pen, but those who are not good at the book use it. " Jiyan uses pen as the most important thing in calligraphy.
Learning the lower case with a pen, the "two kings" lower case is a perfect model, which is both an insurmountable right path and an insurmountable monument. The king left us posts of "Leyi Theory", "Huang Ting Jing", "Portrait of Dongfang Shuo", and "Ci'e Tablet of Filial Daughter". Xiao Wang only left 250 words of "Thirteen Rows of Luo Fu". But this is enough, it contains extremely rich methods, characteristics, and styles, which is enough for my generation to devote his life to chasing after others. According to the different writing characteristics and writing styles of the “Two Kings”, our predecessors summarized the use of pens by the king Wang Kai as “internal method”, that is, the pen with bone method. It's tough. The strokes are very fine at the very fine points, and the bones are thick and stiff. With a slight lift, the pen tip contains ink deep into the back of the paper, creating a sense of heavy calmness. The "Little King" and lower case are summarized with the pen as the "extension method", that is, the stippling drawing is unfolding and expanding, conforming to the shape, light and natural, and swift and gentle. In this way, various stipple forms such as thickness, square, straight, and so on are written, showing a round, smooth and upright atmosphere. Mr. Shen Yinmo said: "Wai Tuo's pens are mostly at the time of love and happiness, and they are so energetic. When they go to the pens, Han Mo is dripping, and this is the fun." When copying the "two kings" in lower case, we must not only carefully grasp the characteristics of their strokes, but also carefully savour the state of their writing and their mentality of life.
In fact, the use of pen includes many meanings, such as stroke, force, intention, and gesture. These concepts are similar and different, and they are closely related. The so-called brush method is the basic technique of writing with a brush, and it is the enduring and enduring writing rules and guidelines of the art of calligraphy. It requires that the pen should be stable and light at first, and pay attention to the aspects such as the leakage of the pen, the transfer, the press, and the slowness of the pen, and gradually achieve accurate pen writing, smooth strokes, and natural results. The so-called pen power is the control of pen movement. By controlling different angles, different directions, different strengths, and different speeds of the pen, writing stipples with a sense of standing, thickness, and elasticity can achieve a round, strong, full and powerful effect. The writing force is not the same as pushing the brush on the paper. On the contrary, if you consciously apply force to any part of your finger, wrist, elbow, or arm while writing, you will have stiff, sluggish stippling. If you want to use strength when writing, this strength must be the strength of coordination, the strength contained in the body, the strength of writing with a pen and free control. When this power is used well, we can write the stipples that have both the shape and the quality we need. The so-called "biyi" refers to a certain kind of charm, emotion, spirit, and interest that the writer expresses consciously through the rhythmic changes of the pen, such as disconnection, echo, speed, severity, etc., which are purely personalized artistic elements, which are mostly intentional. Indescribable. For example, Zhong Yuanchang's "Declaration Form" is simple and dignified, Wang Xizhi's "Leyi Theory" is round and full, Wang Xianzhi's "Thirteen Elements" is fresh and firm, Yan Lugong's "Ma Gu Xian Tan Ji" Park Mao is awkward, and Zhao Songxue's "Ji The Story of Darkness is very stupid, Wen Zhengming's lower case is sparse, Xiao San, and Wang Chong's grace is graceful and so on. The pen intention is often expressed as a relaxed and natural state of pen penetrating up and down, echoing left and right, pen breaking off the mind, and retracting and closing. The so-called gesture is to give stippling and even glyphs a sense of power and dynamics, so that they are not dull and dead. This is a high requirement for regular script. In the "Nine Potentials" of the Eastern Han Dynasty, "The Book of the Husbands originated from nature. Nature is established, yin and yang are born, yin and yang are both born, and the situation is out." The so-called "natural" and "yin and yang" are "potential". The root of it. "Stroke" is different from "Stroke". "Stroke" is the law of strokes that any book writer and any stippling should follow, while "Stroke" is fat, thin, round, round, and clumsy due to individual differences and changes in the times. the difference. Because of the common observance of "strokes", the tradition of calligraphy art is inherited, and because the "strokes" vary from person to person and change with time, the personality of calligraphy art is manifested. In contrast, "strokes" is more "strokes" Training higher-level artistic elements, this element is not only in the field of technical methods, but also in terms of aesthetic concepts and cultural accomplishments, and should not be taken lightly.
Improving the ability to use pens is the key to improving the level of calligraphy, but it is also a long and arduous process. There are problems of investment of time and energy, as well as problems of method and perception. It is a premise to invest a certain amount of time and energy. It is not too slow to solve the problem one by one for a few months. Sometimes it is accumulated over the years, and it is not essential. Suddenly one day, I feel a sense of vitality. This is the principle of success. Therefore, those who learn lower case must stay in the pool, write less in the empty space, write more in the large space, and write intently and concisely. I realized from many years of Xi Xiaokai that the core of using a pen is nothing more than the words "raise, press, disease, and Xu". And these four characters must be grasped through long-term training and deliberation. It is extremely important to write with a pen. As for the method, the most fundamental thing is of course the post, which must be "mastered". I believe that the "two kings" are in lower case, and the posterity is invincible. Not only do they not leave their hands, they do not leave all year round, but also "the person who observes is still fine, and the person who wants it is expensive." It is necessary to carefully observe the characteristics and subtlety of the stippling Stub. After long-term practice, such as Jinglin, Yilin, and back-to-back, until they reach the level of divine realism, they can use them freely and creatively. Because of its smaller glyphs, people often pay close attention to the works when viewing them, so they have higher requirements for the use of pens. A successful work in lower case must strive to achieve no failing or even failing, and must pay attention to every point in the study and creation, and be enchanted, and look at the radiant photos throughout the entire story. In this way, small works can produce great weather. In recent years, due to misunderstandings or biases in the creation of regular script, or the belief that regular script is only a basis for other script styles, or that regular script is too rigid and stagnant, neglecting the intricate carving of regular script, resulting in the creation of regular script The tendency to be random and rough, even if one or two so-called "innovative" works have won awards in national competitions, but in the end, they have no great benefit to the scripture classics inheritance, and should not be blindly obeyed and lost at all. At the same time, we must prevent only focusing on the glyphs and neglecting the wonderful learning method of regular script. We blindly write the regular script fonts as squares, stipples as engravings, lagging with pens, stiff characters, flesh and bones, like an operator. These problems need to be solved with pen training for a long time.
Early Spring 2010
Mr. Yang Mingchen's works are linked to PEN activities 13011251274 Mr. Zhang
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[Post comment]
Sun Weng Yi 2013-04-20 19:43:44 [Report]
I am very much in favor of this theory, and much lessons learned.

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