Let the netizens wait for a long time.
"Twelve Meanings of Zhang Changshi's Brushwork", above, under the sincere pleading of Yan Zhenqing, Zhang Xu began to teach him "penmanship" and told him that if he wanted to write calligraphy well, he had to study both calligraphy and cursive writing. During the period, Zhang Xu used his witty humor to sell a lot of Guanzi, first laughing, then giving away works, and finally silent, in short, he just didn't want to talk about brushwork.
The book continues with the previous article, zhang Xu taught Yan Zhenqing what penmanship, will be revealed in this article. Especially calligraphy lovers, don't focus only on Zhang Xu's humor, you should pay more attention to the content of brushwork, after all, it is not listening to crosstalk, although I claim to be a cross-talk actor who has been delayed by calligraphy.
Yan Zhenqing's "Twelve Meanings of Zhang Changshi's Brushwork" 1
"Nai Yue: "Fu Ping is horizontal, and the son knows it?" The servant thought to himself: "Taste the long history and show that every painting must be made vertical and horizontal, and it is not so?" Nagashi Nai smiled, "Yes." 」
Zhang Xu said, horizontal to flat, you know? Yan Zhenqing questioned, I often hear you say that every time you write a stroke, you must make it look like a vertical and horizontal image, are you talking about this? Zhang Xu said, right.
Horizontal and vertical strokes are the most in Chinese characters, and the "flat horizontal" here is not to write the horizontal painting to the flat, but to write the ups and downs, changes, elasticity, to be like the horse reins to both put out and receive back, and the so-called "horizontal and vertical" is not a concept. The beauty of the work is that the arrangement of the horizontal paintings cannot be seen, and cannot be stacked together like firewood.
Zhang Xu cursive
When a real calligrapher writes cursive or calligraphy, the length of the horizontal drawings side by side will not be written, the angle of the starting and closing strokes will not be written, and the posture will be different. If you have similarities in writing, it means that you have not yet grasped the gist of it and need to continue learning.
Zhang Xu did not speak directly about the brushwork, but told Yan Zhenqing through rhetorical questions. Yan Zhenqing did not answer directly, but responded in the form of questions. Finally, he was affirmed by Zhang Xu. Do you feel familiar with this scene?
Scene in elementary school math class: Teacher: "3 + 2× 5 = 13, not equal to 25, do students know why?" Classmate: "Calculate the subsequent multiplication first, and then calculate the previous addition?" Teacher: "Yes! "It's the same conversation with Zhang Xuyan Zhenqing. Zhang Xu is a good teacher and can teach. It can be seen from the "Chang Shi Nai Smile" that Yan Zhenqing is also a good student in Zhang Xu's heart.
Yan Zhenqing's "Twelve Meanings of Zhang Changshi's Brushwork"2
"And he said, "Straight to the point, the son knows?" "Isn't it true that the straight one obeys and doesn't let the evil song matter?" Long History: "Yes." 」
Zhang Xu said, even if it is straight, you know? Yan Zhenqing said, is it not necessary to be vertical and horizontal, and not to bend too long? Zhang Xu said, right.
Vertical followed by horizontal, there should be echoes, is said to crisscross and crisscross also. The two vertical, three vertical or four verticals in a word are not equivalent to "upright columns", otherwise they are very easy to be stiff, dull, and stiff (the same as horizontal); the main pen of the vertical in a word should try not to be perpendicular to the overall horizontal posture of the work, otherwise it will lose the coherence of the upper and lower levels, which is said to be "straight and weak". In addition, the vertical should not be too long, because a poor grasp will cause the illusion of "cutting paper".
Taking Zhang Xu's calligraphy as an example, whether it is the "Preface to the Langguan Stone Record" or the cursive "Ancient Poems and Four Theses", they all follow the principle of "straight and longitudinal". In his works, there is no angle of 90° between horizontal and vertical intersections in a word, no vertical crisscrossing in the whole painting, and there is no vertical line like modern calligraphers.
Here again, "avoid similarities", that is, the side-by-side vertical should be written differently, not the same length, the same angle, the same posture.
Preface to the Langguan Stone Chronicle
"And he said, "Even if it is between the two, the son knows?" "Is it often revealed that there is no light in the room?" ”」
Zhang Xu said that the dot painting should be even between paintings, you know? Yan Zhenqing said, is there no room for half a light between the dot paintings? In the original text (post), Zhang Xu did not say whether it was right or wrong, but directly asked the next question.
"Mean" cannot be interpreted as "average" here. The space between the dot paintings should make people look good, even and natural, and do not feel far or near, which should be the meaning of "average". For example, if the same dot painting in a word is equal in distance and is not bad at all, it becomes "like an operator", which was very taboo when the ancients wrote. Mr. Shen Yinmo once explained that they are the same as the horizontal and vertical requirements of straightness, and it is necessary to seek equality in unevenness, seek straightness in non-straightness, and seek equality in unevenness.
The author thinks (for reference only) that "uniform" is relative, not absolute, in calligraphy pointillist painting, and to say that 3 mm is 3 mm must not be calligraphy. The spacing should be appropriate, and there should be no increase or decrease, otherwise Yan Zhenqing would not say that it was not allowed to be lighted. There is a big premise to reach such a level, and it is necessary to have solid basic skills, otherwise it cannot be written.
The Four Treatises of Ancient Poems
"And he said, "Secret, the son knows?" "Don't you make every order for Tsukuei to write, and not let him neglect his intentions?" ”」
"Tsuki" means to strike from top to bottom; "wan" means to recess into it. Zhang Xu said that the connection between dot painting and dot painting should be dense, do you know? Yan Zhenqing said that the connection should be like the bite between the pillar and the purlin in the building of a house, and do not let it have a gap, right?
As in the case of "all means between", Zhang Xu did not say right or wrong here. Some people believe that Zhang Xu did not express his attitude on Yan Zhenqing's answer, indicating that Yan Zhenqing's answer was accurate, while Mr. Shen Yinmo believed that this was omitted, but actually agreed.
The denseness of the stroke articulation is not that there is no gap between the two next to each other, but that the relationship between the top and the bottom cannot be broken, as if the broken place is not broken, it seems that the connection is not connected, and the pen is broken. Later generations called Wang Xianzhi's cursive "a stroke of the book", a stroke of continuous writing numbers, but he still followed the "secret meaning", intermittent and continuous, and some strokes were still connected although the meaning of the stroke was broken.
"Loose and airtight" is what we hear most often. Some people think that to be sparse is to be blindly sparse, and to be dense is to be dense, but in fact, this is the opposite of the meaning of "uniform density". The author has seen two extreme "jianghu masters", the omission said "my calligraphy can run horses", the secret person said "my calligraphy is not airtight", which is extremely funny. Mr. Shen Yinmo said that the result of blind neglect is empty and has no connotation, and the result of blindly dense is full of black gas, which is not unreasonable.
Yan Zhenqing's "Twelve Meanings of Zhang Changshi's Brushwork" 3
"And he said, "The front is the end, and the son knows it?" "Isn't it true that the end has become a painting, and the reintroduction of Feng Jian is said to be so?" Long History: "Yes." 」
Zhang Xu said that Feng should pay attention to the end of the stroke, you know? Yan Zhenqing said, is it not necessary to make the pen sharp at the end of the stroke? Zhang Xu said, right.
The last stroke should be in place, not because it is the last one, for example, the last stroke of the "light" character should be slowly raised and lightly closed, forming a blunt momentum as if the bow had just been pulled full, and the arrow was slightly shrunk to the arm of the back of the bow. In the writing process, we should pay attention to the adjustment of the pen edge, once it is hastily completed, it will cause the pen edge to be scattered, thus forming a phenomenon of procrastination.
The author has seen many such calligraphy enthusiasts, a word in front of the stroke is very good, see it is almost the last stroke, brush a stroke, write waste. There are also some texts that are well written and sloppy when the money is dropped, especially in the national exhibition submissions. Or you have to start and end well, not sloppily, because problems often appear at the end, so that you are caught off guard.
Yan Zhenqing's "Twelve Meanings of Zhang Changshi's Brushwork" 4
"And he said, "The force is the bone body, and the son knows it?" "Isn't it true that the lì pen is a pointillist, and the font is naturally majestic?" ”」
"䟐" indicates the appearance of speed, and also means sideways and stealing. Zhang Xu said that force is the muscle and bone of the word, do you know? Yan Zhenqing said, is it not that there are muscles and bones in the painting with a pen, so that the font is beautiful?
Here Zhang Xu did not express his attitude toward Yan Zhenqing's answer, and the author thought that Mr. Shen Yinmo's "omission" was relatively accurate. Under normal circumstances, the teacher will explain the incorrect answer of the student, but Zhang Xu did not explain but directly asked the next question, indicating recognition, but did not say "yes", perhaps nodded, like him such a humorous person, it is not impossible.
The "force" in calligraphy refers to a kind of tension and visual impact expressed by the combination of various lines according to different glyphs, which is not brute force, yan Zhenqing said "majestic" is to illustrate this. Therefore, it is reasonable that predecessors mostly evaluated Wang Xizhi's calligraphy as "strong" and "charming".
The force expressed in calligraphy is an aesthetic expression of abstraction in figurative form, which is difficult to explain in words. We often say that yan tendons and willow bones express two different forces, but some people think that yan characters are bloated and willow characters are dry, which is caused by aesthetic differences. But in any case, the power in calligraphy cannot be understood as brute force, because only when constipation is it used up of the strength of the whole body.
Yan Zhenqing Kaishu
I thought that the "twelve meanings" could be finished today, and only halfway through the speech I had already written nearly three thousand words, well, stop here, you also let the eyes rest, I also let the eyes and fingers rest, and the rest is put to the next lecture.
If you think that the Twelve Meanings of the Narrative Of Zhang Changshi's Brushwork is helpful to you, and you think that I have spoken well, then wait until I write an article, provided that you must pay attention to me, otherwise you will not see it.