Gongda Yisi forty -eight

Author:Jiangnan Times Time:2022.09.19

▲ The key to studying Qin Yan (Xiaoyan): The golden segmentation method is used, and the inside of the outside world is round. The intention is to be more than a blade, and the front sword is directly left and right.

▲ The book is about to practice, taking Xiaoyan as an example, to learn "Taishan Carving Stone". (1) Read the posts repeatedly to understand the characteristics of the body: First, the body is slender and rectangular. The ratio of length and width is about three to two, and the gold is divided. The second is to be positive, the horizontal drawing must be flat, the vertical drawing must be straight, and the word is correct. The third is to be symmetrical, left and right symmetrical, and maintain balance. The length is appropriate, the size is in line, the denseness is uniform, and the configuration is suitable. The fourth is to find changes in a flat and well -proportioned structure and comparison. Among them, the strokes are different and the structure is different. Simple characters are drawn, and you are drawn on the left and right. Pay attention to the characteristics of small seal structures must master eight aspects, that is, symmetry, balance, stacking, center of gravity, master, secondary, interspersed, and concessions. (2) Pay attention to the use of pens to strengthen its pen training. The general principle is that the palm of the palm is true, the tightly, the recklessness, the restraint, the euphemism. Xiaoyan's basic strokes are straight paintings and arc paintings. The writing of straight paintings is to invert and flat out. powerful. Written tips: First, the center of the pen, there is a turn. "The method of round strokes is wonderful in the wrap, wrapping the edge, and the operation of the front" "The potential of the pen, the special must be hidden. If the front is not hidden, the word is ill" Hidden end ". Use a pen to be rounded and active, the curvature is straight, wrap the front to condense, and the backfront is weighing. The second is both astringent and useful. He is in danger, and he is astringent. Those who are too slow and have no tendons, and those who are too urgent and have no bones. To enhance the internal strength, it is not advisable to describe embroidery smoothly, causing scattered, bloated, and rigid problems. In addition, Xiaoyan must pay attention to: (1) Although it is single but requires changes. (2) Pay attention to the severity, anxiety, grant, and astringent. It is necessary to be astringent, rigid and soft, and stretch. (3) Pay attention to the compilation of the square and the circle. (4) Pay attention to the killing at the turning point to get the folding. (5) The method of picking up the pen is real, false and disconnected to change. The third is to know clearly and master its writing habits. Xiao Yan's writing strokes are often inconsistent with the regular script. Its left side, right side of the right, the head, the bottom of the word, and the box all have a strokes that are different from the regular script.

▲ In the past half century of the creation of scriptures, I know the philosophy of "The Wan and True" described in the Book of Books. Da Yutun is round, winning with a dignified form is "scattered"; the small 篆 is soft and square, and it is known for its normative pure style. It is important to write about Li Li's important concept: 篆 写 写 写, the use of its use of its body; Li Fang also, although it is square and the inside is round. Therefore, the Yuan Yuanjin does not still mention it, the main tendon is restrained; For decades, the creation of the scriptures draws the following celiac "guidelines" -the wind twisted, shocking against the trend, sinking in the middle, straightness, and rounding. Specifically, we must adhere to the seven "keywords" -the handling, middle, astringent, contemporary, Fangyuan, thirst, and stay. This includes many aspects such as strokes, knots, rules, ink methods, and potential in the creation of large and small, and the virtual and empty spirit is the highest stage of artistic mood.

Yan Gongda

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