The characteristics of stippling and its writing methods In The Book of Rites, the pens used in the Book of Rites are mainly composed of Fang Bi, and each stippling is required to be delivered to the end, emphasizing wrist writing, so as to achieve the success of writing and make great contributions to Qi Li. Next, take this tablet as an example to analyze the writing method of stippling: 1. Flat painting is the two horizontal paintings in the upper part of Figure 1, such as Yuan, Tian, Wang and Zao, all of which are flat paintings. When writing a flat picture, put the pen in the reverse position, then turn the nib to the right, stroke the center of the pen, and retract the nib when it is closed. Note that in the "Ritual Monument", flat paintings are generally written very thin and straight, written vertically with a pen tip and clean with a pen. When lifting the pen to the right, you should walk slowly, press in the middle, and press the pen down to make the lines round and powerful. 2. Vertical painting is the same as horizontal painting, but the direction changes from horizontal to vertical. As shown in Figure 2, in the vertical paintings in Zhong, Ling, Jing and Hua, the front of the pen is reversed, and there can be no nodding at the place where the pen is written, and the gesture can not be interrupted in the middle of the pen. When you close the pen, the nib naturally retracts. Pay attention to using a vertical pen, just like drawing sand with an awl, which is very stiff. 3. The writing method of folding painting is to draw a plan first, and then press the pen at the turning point to change the front. There are several folding methods in the Book of Rites: (1) As shown in Figure 3, the word "en" is used to fold the painting, and the horizontal painting is slightly changed to the vertical painting. Pay attention to the folded corner pen. Be sure to lift it and adjust the front before putting it down. Can't directly turn the pen, twist the front. (2) In the word "Jian" in Figure 3, the folding painting in the upper part changes the stroke direction after horizontal painting with the hook in the wrist, which is in harmony with the upward projection of flat painting, and the vertical painting downward after folding echoes the lower part, making the whole word full of changes. (3) As shown in Figure 3, the folding method of the lower half of the word "stone" is to lift a pen and then write a vertical picture, but there is still a thread end of the pen. (4) As shown in Figure 3, the mouth folding picture at the bottom of the word "Yan" has been divided into two when writing, but it is broken and full of charm. 4. In the wave painting "Adult Ritual Monument", the fluctuation of the characters' wave painting pen is very obvious. As shown in Figure 4, the words "two", "hundred", "music" and "world" are used. Among these characters, Bo Hua writes against the front, falls obliquely to the lower left, and then moves to the right, that is, "goes out against the people". After passing the middle section, the pen tip gradually presses down, and at the end of the wave, the pen tip is quickly raised to the upper right to collect the pen, forming a transverse wave "silkworm head swallow tail", which is powerful and calm. 5. There are more changes in the method of "Li Bei" than in wave painting. Human figures are long and short, sharp and not sharp, but the basic method of using a pen is not complicated. The pen is still a hidden front, but it is slightly sideways and the center is against the trend. If you don't get ahead, you will pick up the pen after a short pause when you collect it; The striker, after skimming the pen, turns the pen outward to pick it out. In figure 1, the word "big" is left. When the pen tip is drawn vertically to the corner, it goes backwards, and the pen tail is still there. When the pen is closed, the brush moves clockwise in the air, so that the left end is not exposed, which echoes the brush. The skimming method of the word "Wen" is that the pen tip gradually turns against the trend in the process, stops at the pen receiving place and raises the pen upwards. The word "person" is to the left, and the center picks it out to the left when collecting the pen. The strokes of "Fang" tend to be flat, and the strokes of "Da" have something in common at the end. 6. The writing style of Sifasi in Li Qibei is generally heavier with a pen, which is the main stroke of the word. As shown in figure 2, the words "nothing", "Yi", "heart" and "Tao" are all profound and heavy. When writing, let the pen tip absorb ink and force it through the pen tip, from light to heavy. When the pen tip is in place, put it forward and pick it out. In the Book of Rites, it is often because of the outstanding arrangement of this painting that the whole word appears flat, strange and stable. 7. The method of hooking with a pen is basically the same as that of sketching, which requires a stroke, as shown in Figure 3, with the words "dirty", "hole", "respect" and "table". Draw vertically and gradually press down near the corner, then turn the pen to pick it out and keep it in the center. If you can't get out of the front, take a pen and recycle it to keep the main body of the hook in a round and muddy state. 8. The writing method of rotating pen is similar to that of folding pen. As shown in Figure 1, "hole", "yuan", "house" and "auspicious" are all written on the corners, and the strokes should be full and natural. 9. Pay attention to the change of points when painting sacrificial tablets. Although the proportion of dots in the whole word is not large, it must not be rash. When Mao Feng writes, he must walk backwards. When he raises his pen, he will go up against the front, and the direction in front will change according to various stippling postures. The artistic style of "rite of passage" is thin and broad, with vigorous strokes. It is as sharp as Mo Xie. Its structure is that there is sparseness in the plain and tightness in the dense, which has always been regarded as the extreme principle of official script. In the Qing Dynasty, Wang Shu commented on this monument in "The Inscription of the Virtual Boat": "With Bill Han, each monument has its own singularity and nothing in common, and this monument is the most bizarre, as thin as iron, changing like a dragon, with a strange word and no clue." He also said: "Only Hanyi is beautiful and unprepared, thinking that it is superb and vigorous, and that it is profound and restrained, and it has its own division. No one is so wonderful. " The line texture of "Ritual Monument" is different from other official arsenic engravings in the Eastern Han Dynasty, such as "Zhang Qian Arsenic" and "Cao Quanbei". It belongs to the way of justice, dignity, handsomeness and broadmindedness. Some words and strokes in the inscription are as thin as hair, and iron-painted silver hooks are strong and powerful; Some are as thick as a brush, but they are smart and not dull. Although the lines are ups and downs, they seem to be very harmonious from beginning to end and are very successful in the powerful performance factory. Therefore, when studying the Book of Rites, you can choose a double-stranded brush, which is flexible and focuses on practicing brushwork. The strokes should be thin but not thin, and the waves are thicker than the tips of other strokes. Pause before closing the pen, and stir it up quickly by the elasticity of the pen, so that the strokes fly, fresh and healthy. Swallowtail paintings are mostly square, with a large proportion, which looks very imposing. In addition, this monument is divided into four sides, namely, Yang and Yin. The inscription on Beiyang part is dignified and the arrangement rules are relatively regular, which can be regarded as the representative of the style of ritual monument, and the manpower should start with Beiyang part. However, from the artistic point of view, the tablet also has its unique value. His pen is unrestrained and elegant, naturally interesting, the size of words is not uniform, the rules of horizontal arrangement have been broken, and he is very lyrical, which has injected more subjective spirit and temperament into the whole book, so the inscription can not be ignored in the study. Composition and ink color The composition of the Yang tablet in the Book of Rites is vertical and orderly, and horizontal; Wide spacing and close spacing. This composition fully shows the overall characteristics of harmony, dignity and beauty. The pudenda of the monument are often vertical and orderly, with a certain distance between lines and uneven word spacing, which is full of fluidity, naturalness and dynamics from beginning to end. If you study sacrificial tablets, you can pay attention to a little change in the treatment of ink. Generally, when writing Fang Bi, the ink should be moist but not greasy. Pay attention to the relationship between lines: thick lines occupy a more important position and are the main pen of the whole word, with more concentrated strength and heavier pen and ink; The thin line is in the auxiliary position, and the ink color is light. If we want to write a line of Fang Bi's paper while studying, and the pen is out of ink at this time, we might as well copy this line with a round pen. Although as a copy of this line, it lost its original appearance due to the change of pen, but from the inscription to the ink book, the whole word has been supplemented by the loss of this shape, which is not contradictory to the so-called principle of "taking the spirit by shape" in calligraphy. To study the memorial tablet, we should first focus on the organic whole composed of thick and thin lines and maintain the strength of the text.