Appreciation of ancient poetry, running script and calligraphy works

Running script writing should be easy, lively and fast, and master the combination of illness and stagnation, movement and static. The ink color arrangement should be strong at the beginning and dry at the end. The lines are long and thin, short and thick, moderate in thickness and alternating in depth. It's similar to cursive, but it's not so grassy. Therefore, running script is also a calligraphy font that many calligraphers like. So what amazing works will be created by combining this calligraphy font with our ancient poems? The following are the ancient poems and calligraphy works I compiled for you. I hope they are useful to you!

Appreciation of ancient poetry, running script and calligraphy works

Pictures of ancient poems and calligraphy works 1

Pictures of ancient poems, running scripts and calligraphy works 2

Pictures of ancient poems, running scripts and calligraphy works 3

Figure 4 Ancient poetry, running script and calligraphy works

Five schools of running script

1, the concept of two kings' scripts. The two kings in the history of calligraphy refer to Wang Xizhi (307-365) and Wang Xianzhi (344-386) in the Eastern Jin Dynasty. Jin Dynasty is an important period in the history of calligraphy in China, among which Wang Xizhi and Wang Xianzhi are the most outstanding representatives of calligraphy in Jin Dynasty. In particular, the running script school they founded is the source of China's running script. Wang Xizhi's running script prefers running script, while Wang Xianzhi's running script prefers running script. Wang Xizhi's calligraphy is written with a pen and won with strength. Wang Xianzhi's running script is extended with a pen, and won with strength and strength. Wang Xizhi's running script can be roughly divided into three categories. The first category is the calligraphy of rulers' letters, such as Wang Xizhi's Biography of Ink, which is the largest category of Wang Xizhi's running script works.

Learning to write running script is an important way to use a pen. You can't express it without writing? Can you separate, separate, close and get stuck? The unique artistic effect of running script. The pen is clearly explained; Stickiness is about the connection between the pen and the pulse. A good pen rotation must be dark and without trace, and its connection is like a silver coil. Third, pay attention to the use of other fronts. Where is the front? The front is the end of the nib. The nib should always be sharp and not broken, the pen body should always stand upright and not bend, the nib should always be neat and not twisted, and the nib should always gather and not loosen. Thirdly, in the early stage of posting, we should focus on the overall situation and start from small things. What should we pay attention to? Like what? Work hard. However, in the later period of copywriting, the slave of copywriting is the most taboo. Some people always stick to the shape of the monument and only know that it is futile to draw a gourd and make a copy. Do you have to? Take spirit from appearance? We should focus on getting the meaning of the pen.

2. The significance of Yan Zhenqing's running script "Sacrificing Nephew Draft". Yan Zhenqing (709-785) is a famous calligrapher in the history of China. Two kings? Another artistic monument in the future. "Sacrifice to My Nephew" is a manuscript written by Yan Zhenqing in memory of the late nephew Ji Ming. This work was written in memory of Yan Gaoqing, my brother, and Yan Jiming, my nephew, who died in the Anshi Rebellion. Especially when Yan Jiming died, Yan Zhenqing felt deeply about his own flesh and blood relatives, and did not stick to the law, and eventually became a swan song. Yan Zhenqing's calligraphy boldly absorbs the characteristics of seal script lines and is unique on the basis of the calligraphy of the two kings. As soon as he changed the ancient law, Chinese characters became a pattern, which had a great influence on later generations. Wang Xizhi's calligraphy is slender and charming, while Yan Zhenqing's is plump and vigorous. Wang Xizhi used finger power, while Yan Zhenqing used wrist power. Wang Xizhi's ink is warm and moist, while Yan Zhenqing's ink is light and astringent. Wang Xizhi's pen is exquisite, and Yan Zhenqing's pen is handy. Wang Xizhi's composition is perfect, and Yan Zhenqing's composition is very shocking. Yan Zhenqing's calligraphy is good at controlling pen and ink with emotion. His emotions are strong, his charm is lofty, his brushwork is heavy, his momentum is magnificent, and he is magnificent. The whole structure of Sacrificing a Nephew is broad, just, upright, open, closed, free and easy, generous and wild. Throughout the whole article, no matter the pen, structure and composition, it is varied and natural and harmonious.

3. Song people attached importance to the significance of calligraphy. Throughout the history of China's calligraphy, it can be roughly divided into two stages, and the boundary between these two stages was in the Tang Dynasty. People usually think that before the Tang Dynasty, it was the exploration stage of calligraphy, and after the Tang Dynasty, it was the mature stage of calligraphy development. It was not until the emergence of Shangyi calligraphy in Song Dynasty that the art of calligraphy could be closer to human nature. Yang Ningshi, a calligrapher in the Five Dynasties, was a pioneer who attached importance to calligraphy in the Song Dynasty. Yang Ningshi (873-954) has few works handed down from generation to generation, among which Jiuhua Tie and Ten Postscripts of Lu Hong Caotang are his representative works. Jiuhua Tie is neat, beautiful and elegant, with complete demeanor of two kings and full charm of Wei and Jin Dynasties. His classic book style, good at action painting, bold and white, oblique, relaxed and alienated, free and easy, greatly inspired future generations. On the other hand, Lu Hong Caotang's Ten Pictures and Postscripts are contrary to Jiuhuatie's restrained charm, and the scene is extremely lush. In addition, the style, style and aesthetic span of Xia Re Tie and Shen Xian Zhu Tie are impressive. Yang Ningshi was an over-calligrapher in the Tang and Song Dynasties. He was a link between the Tang Dynasty and the next, which laid the foundation for future generations to develop the style of attaching importance to books.

In the song dynasty, there was another one called? China's calligraphy? A master, his name is Mi Fei (1051-1107). Among many calligraphers in past dynasties, Mi Fei's running script had the greatest influence on later generations. About Mifei's way of learning books, he has a self-report: The principle of admission is to write the wall first, and then hang up after writing the book. If you arrive at the Great Wall for a long time, you will have a good time. When I first learned Yan, I longed for a tight knot when I saw Liu, but I learned Liu's Diamond Sutra. For a long time, learning from Europe means learning from Europe. A long time is like a seal, and it is the longest time to study in Chu. I also long for the season to become fat and beautiful, and all sides are complete. For a long time, Duan Jue exhibited the Lanting completely, and then he shared his views. It is also true that he abandoned the clock and studied stone in the Wei and Jin Dynasties. Characters in seal script love to curse Chu and He. I also realized the exquisiteness of bamboo slips and the ancient use of bamboo paint. Shen Chuanshi is the main background of his book. ? Judging from this self-report, he took a road from the shallow to the deep, learned from others' strengths, learned from others' mistakes, learned from others' mistakes, mastered everything and got married. Su Shi praised his running script as:? A horse should keep pace with Zhong and Wang. ? Fan Chengda praised his running script as:? A big order, feeling a little ups and downs, fell into a downturn. ? Mi Fei's two kings had profound kung fu skills, especially Xiao Wang, who was later called? Naivety surpassed Wang Xianzhi. ? It has been handed down as a Mid-Autumn Festival sticker in Wang Xianzhi, and some people suspect that it is a copy of Mi Fei. In Mi Fei's calligraphy, the pen is often leisurely flying, dignified and casual, and drops of ink glow. Miffy claims to be? There is only one good writer, and I have four unique faces? Later generations called him? Eight sides out? . His pen is heavy, slightly lighter in the middle, and he often turns it sideways at the turning point. In the use of hook pen, there is one more action than others. The knot of the Chinese character "rice" is often shaped at will, combined with righteousness and colorful. In terms of composition, the arrangement of word groups is often very strong, such as size, thickness, Fiona Fang, opening and closing, density, reality, completeness, length and so on. All this is unexpected. Virtual front into words, winning by potential; Strong, charming and fluent; Lighten the pen power and make the front elegant; Those who are interested in learning Mishu, such as those who are proficient in using virtual pens, deserve attention. His representative works include Shu Su Tie and Tiaoxi Tie.

4. Zhao Mengfu and Dong Qichang are plain in ancient meaning. Learn running script. Two kings? There is no doubt that this is a positive signal. People who deviate from this main line and take shortcuts by cleverness are prone to frivolous and superficial ignorance. Zhao Mengfu and Dong Qichang, right? Two kings? The outstanding representative of Zhengmai system is a rare all-round calligrapher in history, and we should pay enough attention to it. The significance of Zhao Mengfu (1254- 1322) lies in the widespread existence of calligraphy since the Song Dynasty? Value is higher than law? Zhao Mengfu put forward a reflection to people. He proposed to revive the ancient laws of Wei and Jin Dynasties and play boldly? Is it ancient? Retro banner. As a result, the third great change in the history of calligraphy development in China took place, which made outstanding contributions to the new atmosphere of calligraphy in Kaiyuan Ming Dynasty. He has been addicted to ancient law all his life. Two kings? No embarrassment. As Song Lian said: Today's arrival? Two kings? Books, but with people, such as selling flowers to see peaches and plums. If Zhao Gong is a person who sees his living spirit at the bottom of branches and leaves, it is not easy to change this custom. ? Tang research? Two kings? Get its shape but lose its rhyme, Song Xue? Two kings? If you get its rhyme and lose its shape, what about Zhao? Two kings? Even Dong Qichang and Fu Shan admired him in his later years.

Because of the appearance of Dong Qichang, it played a leading role in the calligraphy schools formed in the late Ming Dynasty. Dong Qichang is good at using pens and has unique opinions. He said:? When writing a book, you must be able to lift it. What is the beginning, what is the end, you can't trust the pen, and future generations believe in it. Pick up the pen where you send it, don't suppress it, and don't spread the word forever. It's hard to cover with a pen, but it's hard to be vigorous and powerful. It's not that it's hard to make a solid wood with a pen, but the strength of a strong person. Learning Dong Qichang's ink method is also very particular, dense and dry, and it's beautiful. If people who study books can work together with Mohism, it is a sign of superiority. Dong Qichang makes good use of light ink, often with emptiness and rhyme, aiming at pursuing a clean, elegant and leisurely style. His calligraphy works, generous, elegant and classical, seem to be scattered in shape but not scattered in spirit, with interlocking lines, and never reveal a little impetuous spirit, which is a well-deserved generation of great calligraphers. His representative works include Red Cliff Fu, Moonlight Fu and Confessions of Xie Xuelong.

5. Famous calligraphers in Ming and Qing Dynasties. Calligraphy in Ming and Qing Dynasties is also worthy of attention. The famous calligraphers are Huang Daozhou, Wang Duo, Zhu Yunming, Wang Chong, Ni, He, Yang Shoujing, Fu Shan and Zhao. Among the calligraphers in the Ming Dynasty, Huang Daozhou's cursive script (1585- 1646) had a great influence on today's calligraphy circle. Pan Tianshou, Lai Chusheng, Sha Menghai and others, the world's great calligraphers, have deeply studied Huang Daozhou's style. Huang Daozhou is a man of great learning. He is called Wang Duo and Ni? Three lunatics? . Huang Daozhou's cursive script is outstanding, and the small letters are amazing. In his book, there are? Between you? Innovative spirit, stronger traditional skills. His little letters take the form of law, and once they are changed into strict rules and regulations, they suddenly show a casual and unruly style. In his other books, it is not difficult to see that besides the rhyme of Zhong You and Wang Xizhi, there are many mellow official meanings. Many people think that writing should be beautiful and straight. I don't know, too delicate is easy to cause delicate problems, too tall and straight is easy to cause plain problems.

Structurally, he tried to break the normal, correct and symmetrical pattern to replace justice. Sometimes patchwork, sometimes avoid interspersed, sometimes Shu Lang generous, sometimes tight and tight. In composition, his spacing is very close, and his spacing is very sparse. The extra sparse line spacing just leaves room for the uneven, scattered, generous and intensive service of words, thus making their own rules appear. Vertical compact, horizontal Shu Lang? Contrast produces a strong rhythm and contrast. Ni's running script is also quite distinctive, with a refreshing pen, which is obviously astringent when wielding a brush, and the shade and dryness of ink naturally coexist. In the glyph structure, the upper right corner of the word is often slightly raised, and the lower left corner is slightly extended, which makes the word extremely dangerous and has a strong sense of rhythm. As for the calligraphy in Qing dynasty, as far as calligraphy research is concerned, the art of calligraphy can be said to be the end of the road because of the prevalence of official style. However, the development of calligraphy in the Qing dynasty also had a good opportunity, that is, a large number of ancient monuments were unearthed, which finally made many people of insight wake up. With their loud voice and advocacy, calligraphy in the Qing Dynasty embarked on a road of vigorously studying inscriptions.