The strongest door-to-door son-in-law

Chapter 601 Shen Yun Artistic Conception
"Yan was passing through Luoyang for personal matters at that time. He believed in Buddhism and liked to interact with monks. Moreover, Huaisu was a disciple of his classmate Wu Tong, so he thought highly of Huaisu. Seeing that Huaisu Kuangcao could compare with his predecessor Zhang Xu, he He was so impressed that he responded to Huaisu's request and wrote a preface to the "Collection of Songs in Cursive Script" by Master Huaisu. Based on this collection of songs, Huaisu wrote a volume of "Autobiography" in the 12th year of Dali in the Tang Dynasty."

Ye Feng pointed to the "Autobiography" and continued: "In the Kuang cursive calligraphy style, the characteristics of one-stroke calligraphy are the most obvious. In the stipple processing, the change of lines is the main one. The bouncing brushwork and the lifting strokes become the most obvious features. Normal. Dots are widely used in cursive calligraphy. The direction and position of the dots affect the posture, composition and style characteristics of the calligraphy."

"The word 'bu' appears very frequently in "Zi Xu Tie". It is basically composed of four dots. It can also be written with horizontal and vertical strokes or with the last two dots. Regardless of the writing method, the stipple gestures are different. The same, the size, curvature, thickness, string reflections and stipple strokes all present different postures."

"Similar strokes such as the first point of the zigzag and the length, size, curvature of the remaining zigzag strokes, and the direction and angle of the continuous strokes; [-]. The size, weight, and curvature of the dot-mark writing also reflect obvious The change."

Listening to what Ye Feng said, Zhao Licheng nodded thoughtfully.

Seeing Ye Feng speaking more and more professionally, Zhao Bo's heart was beating nervously, and he couldn't help but clenched his fists. If this was not the old man's living room, he would have been unable to bear it and rushed over to Ye Feng. Feng punched.

No, we can't let this good-for-nothing son-in-law talk anymore, otherwise everything we have worked so hard for will be completely destroyed.

Zhao Bo took two steps forward and shouted angrily: "You idiot, who gave you the courage to talk here? What is being held here today is my grandfather's birthday party, not a calligraphy conference. If you dare to talk nonsense again, Yu, believe it or not, I will kill you!"

Ye Feng glanced at Zhao Bo coldly, knowing that he was a bit anxious and jumped over the wall.Ye Feng wanted this effect, so he ignored his threat and continued: "The structure of calligraphy is mainly about grasping the structure of Chinese characters and processing the glyphs. Structure focuses on the internal structural components of Chinese characters and their proportions. Process and take advantage of the situation to pay more attention to the external morphological characteristics of the font."

"The structure of "Zi Xu Tie" is relatively flexible when dealing with characters. The length, size, and interspersion can be natural. There are various gestures within and between characters. The center of gravity, tightness, appearance space and inner space of characters are mainly dealt with circles. Irregular spatial layouts and divisions such as square, sharp, and polygonal shapes are used to make the structure flexible and changeable.”

"In "Zi Xu Tie", the lines are mostly round and smooth, and the strokes are mainly horizontal movements. The strokes have the characteristics of seal script lines. This is not only the requirement for the center's strokes, but also the characteristics of the strokes. It is related to the line characteristics pursued in the development of seal script in the Tang Dynasty."

"What is common in "Zi Xu Tie" is that the brush strokes are flexible and the brush strokes are attacking from all sides or eight sides. But in the writing, the strokes are fully mentioned, and there are many arcs and circles that follow the trend or go against the trend, and the direction of the writing is changed. The use of smooth brushstrokes, small folded lines, and transitions of the brush strokes at the edges of the threads create a rounded posture as a whole."

""Zi Xu Tie" focuses on stability in the treatment of word groups, and the stability feature is achieved by the changes and balance of Chinese character parts. Each Chinese character is straight and straight, and the center of the Chinese character presents a balanced straight line only in the beginning of seven or eight Okay, the processing of subsequent word groups is rarely like this. Even if the handwriting is dignified, the connection of the center lines is not in a straight line."

"Each line of Chinese characters is regarded as a unit, and the connection of its central axis in this post has both polyline and curve. The connecting line is a polyline and matches the change of the weight of the handwriting, and its sense of change and beating is enhanced; the connecting line presents a curve Most of them are irregular curves, often with changes in the magnitude and direction of the bends, but less frequent use of ink and adjustments to the strokes, which is directly related to the lyricism of cursive writing." "In addition, the line spacing in "Zi Xu Tie" is basically the same , there are also interspersed and even a small amount of cross coverage of Chinese character strokes, but these are only a few after all. The overall style is round and the handwriting is thin and vigorous, adding variety and agility."

"In the "Zi Xu Tie", the thirsty brush is often used in the ink technique. For example, the three characters "心心道" in the 11th line, and the words "fucao" in the 35th line. It should be noted that the thirsty brush is not an empty brush or a sick brush. Light pen. On the contrary, Huaisu's thirsty pen was caused by him not having enough time to dip in ink to connect a few words in the writing process. Here, not only does the light ink not feel weak, but it feels more vigorous and more vigorous. It can reveal the authenticity and ingenuity of ink marks.”

"This post is written in wild cursive, so the writing is very fast. What is quite interesting is that the characters in the post are slow and slow, and then become faster and faster, one after another, and the changes are endless."

"For example, the four words 'often encountered' in the 10th line are disconnected and the writing is slow; but the 11th line is Tongxing's continuous writing. Another example is the seven words 'Zhonghao Huaisu talks about himself' in the 97th line. The writing speed obviously slows down, but from line 98 onwards, the writing speed suddenly speeds up, just like the sudden strong wind when it rains. This happens on almost every page."

"When discussing calligraphy, the ancients advocated both form and spirit, with special emphasis on the spirit. The spirit is the 'emotion' mentioned in the Book of Records, and is also called 'freehand brushwork'. The biggest feature of the "Zi Xu Tie" is its The freehand nature has been brought into full play, reaching the highest, pure, good and beautiful state."

"Especially in the second half, it has reached a state of unconcealed drunkenness and madness. As stated in the post: 'When you are mad, you make light of the world, and when you are drunk, you can see the truth.' Huaisu is good at writing books while drinking, and he carefully ponders the meaning. Every word and every painting in the post is filled with this artistic conception. Especially those large characters written quickly, such as 'Zhang Dian', 'Dai', 'Zui Lai', 'Kuai Lai', etc."

"When the author writes, he no longer feels the existence of the world, but only himself - his own will, his own ambition. In "Autobiography", Huai Su's pen has reached the point of 'I write my heart with my hand, and I express my pen with my pen. Emotion; I am the word, and the word is me; the person and the word are one, and the book and the meaning are one and the same. This is the artistic conception of Huai Su's "drunk" - not "drunk by wine" but "drunk by heart" and "drunk by mind" ', 'Love Drunk'."

After talking about this, Ye Feng finally concluded: "Although this "Autobiography" is a perfect imitation, the charm and artistic conception are not right."

"Here, a low-income son-in-law actually claims to understand the charm and artistic conception of copybooks. It's the most ridiculous thing in the world!"

"I'll give this guy [-] points for pretending. I won't worry about him being proud!"

"There is nothing wrong with the charm and artistic conception of this "Autobiography". This freeloader is clearly making trouble out of nothing!"

(End of this chapter)