Picture appreciation of eight-character calligraphy works;
Picture of eight-character calligraphy works 1
Figure 2 of eight-character calligraphy works
Figure 3 of eight-character calligraphy works
How to write calligraphy:
First, know the size and merits.
Big and small, curved and straight, all exist relatively in the works and are one of the necessary components of any form of aesthetic feeling. Bai Juyi Pipa Hangyun:? The big string hummed like rain, and the small string whispered like a secret, hummed and whispered-and then mixed together, like pouring large and small pearls into a plate of jade. ? Subtle syllables are produced under the coordination of appropriate sizes. The images of natural characters, the contrast of size, and the mutual learning of merits and demerits are everywhere. The articles of association are there and naturally come together. It is the embodiment of natural beauty and the need of artistic beauty. People who are good at capturing and using will definitely make their works have a beautiful rhythm.
Judging from the style of calligraphy, it can be said that the big one is the combination and the small one is the division; The big one is unity, and the small one is change. Embrace the small with the big, seek change with the big, break the big with the small, and seek unity with the rich. Generally speaking, it is not difficult to get the overall weather when large and straight strokes are put into books, but it is easy to make simple mistakes. It is necessary to divide them appropriately, or strengthen their own changes, or insert other deformed strokes to make them smaller; Fine lines into the book, when it is not difficult to find the meaning of change, but easy to make trivial and messy mistakes, should be combined and summarized, so that some parts are assembled and zero is a whole. You can also use larger thick lines to set off the packaging and enhance the overall feeling. The same is true for curved and straight ones. Judging from the calligraphy strokes, it is soft and straight, round and straight, and if there is a code and straight, it is both rigid and soft, and Fiona Fang sets each other off; Qu is sluggish, straight is smooth, qu is changeable, straight is positive, smooth is sluggish, and positive is cross, so ancient and beautiful are compatible. The whole calligraphy is written as the predecessors said? Woman? Word, this is very vivid, a female word, straight change. Because of the linearity of the upper horizontal, the curve of the right bend and the turning point of the left bend, the three paintings overlap and cross, forming a pattern of odd and positive dependence, rigid and flexible mutual reflection, in which there are pauses, turns, simplicity and richness.
Second, the control circle is uneven.
This is also the aesthetic feeling produced by contrast. Generally speaking, a work should have a round and uneven level in the overall layout. Pave the road with messy grass-like stones, avoid neat parallel lines or mechanical arcs, and of course, you can't lack anything to avoid dullness or incompleteness. Between the jagged teeth, it also requires change, and the big and the small cannot be equal. Sometimes we have to seek differences in the whole, and sometimes we have to seek the whole in differences. In short, in the specific image, it also needs to be uneven, so as to be resistant to play and products.
Third, look at the opening and closing echoes.
Writing a book is like writing a text At the beginning of writing, the plot, the characters-narrative, horizontal and steady, come and go, then outline, close your eyes and gradually summarize, the plot has a result, the characters have a home, and the article ends. This is the way to open and close. Because the first opening, there can be a plot, there can be changes; After the combination, you can see the meaning and spirit. The so-called God's satisfaction is probably the case. At the beginning of calligraphy composition, the writing content is exaggerated to occupy the space of the work and express the ideological content, and then the level is gradually enriched, and the image is revised to make the structure complete and the content rich, so as to see the charm and artistic conception. This is the opening and closing of the writing program.
Calligraphy is like boxing. Hands and feet should be open, closed, steady, light, reciprocating, interlocking, and then horizontal and vertical, vertical and horizontal, invincible. On the whole, cursive works, by letting go of the brushwork, make them gain momentum vertically and horizontally, form in the characters, and breathe through the paper. It can be said that they are open, open and scattered, that is, they are closed and released immediately, that is, the end of the characters is retracted according to a certain procedure, and they are folded inward. If Xianglong looks back, it is intended to look back, then the momentum will converge in the characters but not disperse. If there is a combination, the work will be introverted, open and inconsistent, and it will inevitably be sloppy and lose cohesion. It can also be seen that opening and closing and echoing, seemingly different, are actually born in the same realm, especially running script and cursive script. Opening and closing is the visual image of the work, and echo is the psychological effect produced through it. So it can also be said that the echo comes from opening and closing, which is reflected in looking around. The expression and echo between the lines are the feelings and intentions of the works, and they are the windows to reflect the works. Therefore, opening and closing echo is not only the need of composition form, but also one of the cornerstones of the spirit of the work. Mastering the way to turn on and off the echo will also master the key to open the door to the expression and attitude of the work.