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Calligraphy style, calligraphy style, fonts and calligraphy fonts refer to the different forms and differences between traditional writing fonts and glyphs. There are five styles of traditional calligraphy, namely running script, cursive script, official script, seal script and regular script. Ma Yongan, a contemporary calligrapher, created the sixth calligraphy style-horse style. Ma Ti Calligraphy, created by Ma Yongan, was registered in the National Copyright Administration on February 3, 20 10 and officially named. Now, strictly speaking, there are six calligraphy styles, each of which has representative calligraphers and masterpieces. In addition, each calligraphy style has spawned many calligraphy factions. Generally speaking, there are only the above six categories.

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The evolution of calligraphy style

Seal character

Except for Oracle Bone Inscriptions, most of the ancient characters handed down from the pre-Qin period in China were carved on bronzes. Because bronzes are metal objects, they are called "bronzes" and "auspicious words". Among the bronzes, Zhong Ding is the heaviest and richest one in China, so it is also called "Zhong Dingwen". There are many kinds of bronzes, and there are hundreds of them, most of which are ritual vessels or sacrifices in ancestral temples. Archaeologists of epigraphy, such as Luo Zhenyu, Su, have different classifications. Among them, Hui's article "Bronzes Exhibited in China in Recent 50 Years" is explained according to the classification of Rong, which is well organized and classified as follows:

The types of utensils are: Ding (round belly with two ears, three feet and four feet), Gui, Dun, Fan, Dou and Lu (the main cooked utensils are Ding, Ding and Dun. The main containers are reeds and beans.

Wine containers include: Jue, Jiao, Zun, Fan, Fan, Fang Yi, Hu, birds and animals, Fan (the above are wine containers and drinking containers) and spoon.

Musical instruments are: cymbals, cymbals, cymbals, cymbals. ) Bells (all hung and beaten) Bells and priests (all with tongues, mouths down and vibrating). Yu, drum, etc.

Weapons include: ge, spear, halberd, sword, knife, arrow, etc.

Common utensils are: plate, display, bowl, basin, home, basin (above water container), area, plate, ingot and stirrup (above miscellaneous). In Shang and Zhou Dynasties, the main common utensils were plates and warders, both of which were used to wash hands, but plates were also used to hold food, and warders could take care of their faces, and if enough, they could also be used as heaters.

The inscriptions on bronze in the Yin Dynasty are extremely simple, with one word or one number for each device, many pictographs, even only one figure, and no words at all. The others are neither words nor pictures, so we have to say that they are pictures and texts. These inscriptions are used to represent animals, war and economy, military affairs, vessels, princes and ministers, life and Asian characters. Lu Dalin, a famous epigraph writer in the Song Dynasty, said that the picture characters in this kind of inscriptions are the original fonts of Chinese characters. The inscriptions on the bronze wares of the Yin Dynasty are: Shangfang 30, Shangtai Temple, Bigan Copper Plate, etc. Among them, Shangtaisi is the most famous and has dense rules. If Zhou has no special tripod, it will be imitated. In short, the bronze inscriptions in the Yin Dynasty were concise and vivid, and calligraphy was also very mobile.

In the early Western Zhou Dynasty, the inscriptions on bronze inscriptions of many clans in the Yin Dynasty still retained the characteristics of elegant writing style, including Zhou Gongyin's sharp and consistent brushwork, some of which were fat and thick, and the inscriptions on bronze inscriptions in the Yin Dynasty were full of vitality and strong brushwork. The font is neat and harmonious, revealing a unique trend. From becoming a king to entering the era of Kang Wang, although the glyph is still neat, the boldness of vision has been lost. And formalize it. The only one of them, Yu Ding (pictured below), played a unique and vigorous brushwork. It is a famous bronze ware in the Western Zhou Dynasty, with an inscription on the inner wall, which is as long as 29 1 word, and it is rare in the Western Zhou bronzes. Its contents are as follows: warn Yu that Yin died of alcoholism, and the Zhou Dynasty prospered by abstaining from drinking. Yu must try his best to help him and respect the moral policies of King Wen and Wang. His calligraphy style is rigorous, the shape and layout are simple, and Fiona Fang has both skills of using a pen, which has a rigorous and dignified artistic effect. It is a masterpiece of bronze calligraphy in the early Western Zhou Dynasty.

The bronze inscriptions in the middle of the Western Zhou Dynasty are small and neat in shape, thin in strokes, generally slender and lacking in change.

Among the late Western Zhou bronzes, Mao and other bronze inscriptions are the most famous, which were made in the late Western Zhou Dynasty. The inner wall has a 498-word inscription. The content is that the king of Zhou is the Zhou government of ZTE. In order to get rid of the long-standing abuses, he ordered Mao Gongzhong, an important official, to help him avoid the disaster of national subjugation and give him a lot of property. Mao Gong thanked Zhou Wang and made a tripod to commemorate him. His calligraphy is a mature style of bronze inscriptions in the Western Zhou Dynasty, with well-proportioned and accurate structure, clear organization, orderly style, vigorous and steady lines, proper layout and full of rational colors, which shows that bronze inscriptions have developed to an extremely mature position. It should be the masterpiece of this period, which has slightly formed the embryonic form of Da Zhuan. As for the inscriptions in the Spring and Autumn Period and the Warring States Period, most of them are long and detailed, forming the style of Xiao Zhuan. There is also a great work in this period, which can't be ignored-"Shi San Pan"-this is a bronze ware in the late Western Zhou Dynasty in the period of Li Wang. Its inscription structure is simple, its lines are round and concise, and its center of gravity is low because of its horizontal position, which is more simple and heavy. It has a strong sense of "casting" and shows a strong "golden taste", so it occupies an important position in the system of stele study. Hu Xiaoshi, a famous modern calligrapher, commented: "The seal script was well prepared in the Zhou Dynasty. Its great tools are Mao, Mao, ... and its words are in line with the vertical trend, but only Pan."

Since the Han Dynasty, it is generally believed that Da Zhuan was written by Zhou Xuanwang Taishi Zhuan (827 BC). For example, Hanshu has 15 history books, and Ban Gu notes: "Zhou Xuanwang wrote 15 seals." Xu Shen also said: "Wang Xuan wrote fifteen pieces of Da Zhuan, which is different from ancient Chinese." Ancient Chinese or others, that is, Taishi increased and lost ancient Chinese, so Dazhuan is also called "Zhu Wen". Therefore, later generations all think that Da Zhuan is a form after ancient prose.

Shi Guwen (left) is the most representative seal script among the stone carvings handed down from ancient times. This kind of stone tool is undoubtedly the oldest and most reliable stone cultural relic in China. It is now in the Palace Museum in Beijing. Shi Guwen has an important position in the history of calligraphy.

There are ten stone drums * * *, which were originally about three feet high, and the drums are engraved with words, which are commonly known as drums. Actually, it should be Jay. Moreover, the content of stone drums is mostly related to hunting, and some scholars call it hunting. Both Han Yu in the Tang Dynasty and Su Shi in the Song Dynasty have works of "Shigu Song" singing about Shigu, so they generally use the common name "Shigu".

Shi Guwen's article, in order to describe safari, has more than 700 words, which belong to four fonts. It is extremely abstruse and difficult to understand, and there are many indelible words. Scholars like Han also lamented that "clear pronunciation and mellow voice are difficult to read." Since Pandi wrote Shi Guwen Yin Xun in Yuan Dynasty, it has been widely understood, and it is a rhyme of hunting. Originally, the order of the ten stone drums was determined, but there were also different opinions among the families, which was extremely cumbersome.

The oldest rubbings known in the world are Song rubbings collected by Fan Tianyi Pavilion in Ningbo, Zhejiang Province. In the second year of Jiaqing in Qing Dynasty (1798), Ruan Yuan stone carving was preserved in Hangzhou for eleven years (1873), and it was also carved in Yangzhou. Only Tianyi Pavilion was burned in the tenth year of Xianfeng (1862). The existing Song rubbings "An Guo Jiu Cang in Ming Dynasty" (word, Guipo, Xishan, Jiangsu) unfortunately flowed into Japan. Ann loves it very much, and collects ten kinds of ancient inscriptions because of the "Ten Drum Zhai". Among them, there are three kinds of extensions in the Northern Song Dynasty, namely, forward extension, middle extension and stamina. Now spread to Japan, it is the book of stamina, with Anguo's handwritten seal script and postscript at the end. In the existing Shi Guwen rubbings, it can be regarded as a crown, and it has been photocopied by Japanese Second Choice Society for a long time.

The font is roughly between Zhou and Qin Xiao Zhuan. It is known to belong to the calligraphy system before Qin Shihuang. Compared with Xiao Zhuan, it can be called Da Zhuan, which is a masterpiece of Da Zhuan. Its font is small and complicated, like a ritual vessel in Zongzhou period, which is relatively complete and can be called neat. Kang Youwei called Shi Guwen in "Guangyi, One Boat, Two Cans": "When gold falls to the ground, the grass clouds are strange, and it is not annoying to cut it all. The body is slightly flat, and the insect is similar to qi. Shigu is not only the first antique in China, but also the first method for calligraphers. " It can be said that it is appreciation. Shi Guwen was cherished by Yilin, but after the Northern Song Dynasty, calligraphy research flourished and few people set foot in it. Until the middle of the Qing Dynasty, the wind of archaeological respect for monuments revived, and the stone drum characters were especially valued by calligraphers. Wu Da, you can get strict rhymes. Wu Changshuo, on the other hand, was angry that he was a man in ancient times. Both of them regard contemporary calligraphy as the most important thing for future generations.

What is Xiao Zhuan? According to Xu Shen's "Preface to the Explanations of the Early Han Dynasty", "Fifteen biographies of historical books are different from ancient Chinese, and the biographies of Cang Xie of Qin Lisi, Zhao Gaozhi and Hu Wujing are all based on the biography of Shu Da or the province, which is called biographies". It can be seen that the small seal script is taken from the big seal script in the Book of Poetry, and the writing method is simplified and neat.

Small seal script and various styles of calligraphy: In the past, there was a saying that "if you don't learn seal script, you can get official script", because official script originated from seal script and learning seal script is also official script. The font of official script and regular script emphasizes horizontal and vertical at first, which conforms to the basic brushwork of official script. The structure of official script is expensive and even, and official script and regular script also pay attention to uniformity. If you write official script accurately and skillfully, then writing official script and regular script will naturally be even. Writing cursive script should be lively and lively, and you need to be good at drawing circles. There are many semi-circular or circular strokes in seal script. Speaking of perfect temperature, cursive writing is particularly lively and the music is wonderful. It is to know the brushwork of seal script, which is the basis of every style of calligraphy. For example, the brushwork of Xia Chengbei is between Zhuan Xu and Li, and it is still full of twists and turns, which proves that Zhuan Xu is related to Li. The combination of Yan Kai and seal script theory has won the highest beauty in calligraphy. Book horse bone fairy Tan Ji, bones and muscles stopped evenly, balanced brushwork. Some people say that Yan comes from seal script, which can prove that seal script is related to Kai script. Huanggu's running script and long strokes are no different from those of seal script. Kang Youwei has the phrase "Gu Xing Shu is connected with seal script", which can prove that seal script is connected with line. Huai Su's "Weeds", with a pen in the middle, is thin and vigorous, and it turns wonderfully in flight. The package contains the saying that "drunken monk, virgin Mary, dharma, source sealing brush, muddy public health, for grass seal", which can prove that seal is connected with grass. To learn all kinds of calligraphy, you don't have to write seal script first, but if you can write seal script first and then write regular script cursive script, it will be easier to understand the brushwork. Master Hongyi taught the writing method: "You must start with seal script and write at least 500 words a day, then learn official script and enter regular script;" Kaicheng, learn grass ",its preface also begins with Biography. When the seal script is finished, you can come to Zhong Ding, write about Oracle Bone Inscriptions, and copy down all the ancient seal scripts, so that you can have brushwork and brushwork, with charm and charm.

Xiao Zhuan, composed of calligraphy, has a rounded curve, even and symmetrical strokes, rigorous structure, vigor and solemnity, and both (the picture on the right shows Qin's "Carving Stones on Mount Tai"). It had a great influence on China's writing and calligraphy art, and Xu Shen compiled fifteen volumes of Shuowen Jiezi based on Biography. Therefore, it can be seen that seal script is the right way for all seal scripts, and people who study calligraphy should not take it lightly.

official script

Official script evolved from the ancient seal script in China, and it is said that it was created by Cheng Miao, a native of A Qin. Lishu is divided into "Qin Lishu" and "Han Li". The structure of "Qin Li" is round, similar to seal script, commonly used in Fang Bi, also known as "Guli". The word "Han Li", also called "eight points", becomes square and straight, with a wide and flat knot and waves exposed. This font is called "Han Li" because it evolved into the Han Dynasty.

Guli, from the Qin Dynasty to the Western Han Dynasty, and even the early years of the Eastern Han Dynasty, is a general period of "Guli", with inscriptions handed down from ancient times, including those of Qin Quan and Han Dynasty pottery, the engraving of Lu Lingguang Hall, the engraving of Wufeng in the following year, the engraving of Lai Zihou, the inscription of Ergongshan and the opening of the praise and oblique road. 19751February Qin bamboo slips unearthed in Hubei province (the second part) shocked the archaeological and calligraphy circles. Its excavation has opened the eyes of modern calligraphers and provided real information for the study of calligraphy history. Qin Li's structure has its own special characteristics of the times, including the characteristics of later official script and seal script. The ancients said: "Feng is also a successful official", which makes sense. In the sense of "fast", Qin bamboo slips are brush calligraphy. Only the use of brush and the rapid writing of seal script can really push China's calligraphy to the direction of official script.

The Han Dynasty, from 206 BC to 220 AD, was a crucial generation in the history of calligraphy development in China. The Han Dynasty was divided into the Western Han Dynasty and the Eastern Han Dynasty. In the 400 years of Han Dynasty, calligraphy experienced the evolution from brush seal to official seal, from official seal to Cao Zhang, Shu Zhen and running script. By the end of the Han Dynasty, Chinese characters were basically completed. Therefore, the Han Dynasty is a critical period in the history of calligraphy, from constant change to stereotypes. Lishu is a widely used script in Han Dynasty. Official script in Han Dynasty is also called "Fenshu" or "Bafen". Not only is the brushwork more and more sophisticated, but the style of the script is also diverse. Liu Xie's "Wen Xin Diao Bei Long" said: "Since the later Han Dynasty, the tablet has been carved in the clouds." Therefore, the official script of the Eastern Han Dynasty entered a stage of skillful brushwork and various schools. Among the more than 100 kinds of Han steles left behind, it presents a dazzling and brilliant style. At the same time of the maturity of official script, there was a change in the division of official script, which developed into Cao Zhang, running script and original work. The constant change and development of calligraphy laid the foundation for the smooth cursive movement and the wild cursive movement in the Jin Dynasty.

More than 200 years in the later Han Dynasty was the heyday of the "eight-part essay". The stone tablets in this period all used the font of "eight points", and the number was large. There are more than 100 kinds of rubbings handed down from ancient times, including inscriptions in the Eastern Han Dynasty. Such as Shimen Fu, Yiying, Li Qi, Kong Zhou, Huashan, Chen Shi, Xiyan Fu, Xiping Shijing, Han Ren, Yin Zhou, Cao Quan and Zhang Qian. The fonts of these tablets are long and dense, wide and flat, simple and elegant, delicate and elegant, and beautiful. However, as far as the "eight points" rule is concerned, the inscriptions of Yi Ying, Cao Quan should be more rigorous, and Xixia, Zhang Qian (below) and Shimen Song are the representative works of Li Zhong's seal cutting, kai and xing. The above monuments are all loved by the world.

cursive script

Cursive script is the simplest writing in China. The origin of cursive script, such as running script, or other characters, is uncertain when it began. According to historical records, "During the Warring States Period, Chu Huaiwang made Qu Yuan a constitutional order, but the draft was not published. Shangguanshi saw it and wanted to take it away. The ancestor of Gaicaoshu began in. " Therefore, cursive script originated from cursive script, indicating that cursive script was formed in the Warring States period. Because the font started from cursive script, in order to play the role of sketching, it is omitted and scribbled, so it can't be written neatly, just as the name suggests. But this cursive script can only be said to be the draft of the ancient seal script (the font used at that time). The real cursive script began in the early Han Dynasty, and its evolution process should be "Cao Zhang", "Modern Grass" and "Crazy Grass".

Cao Zhang is a sketch of official script, so it originated from official script. This legend was created by the historical travel of Huangmen Mausoleum in the late Western Han Dynasty and Yuan Dynasty. Zhao Yanwei in Song Dynasty said: "Xuanhe, the ancient people in Shaanxi got wooden slips, and the word is Cao Zhang. It was the second day of Yong, and they sent their husbands to crusade against Qiang. Mi Yuanzhang wrote: Cao Zhang was played by Cao Zhang. Today's test uses both, and aesthetic feeling is applied to the text. Since ancient times, it has become easier to establish a primary school family, so the big seal has become a small seal, and the small seal has become an official; Longer than it, it is complicated to be a servant. Then, naturally, it is a chapter to write, and learn to engage in chapter grass; Therefore, although the grass grows, the official pen is still there, and Liang Yao is not far from the official. " This theory is more credible because it can be played in chapters.

Although the font of "Cao Zhang" has been simplified to official script, it is still slightly wavy. If we look at the wooden slips in the early Han Dynasty (above), we can see that the early "Cao Zhang" was actually an emergency with a rough variant of "official script". Therefore, there is no certain standard for its brushwork and structure. It was not until Zhang Zhi and Cao Zhang in the Eastern Han Dynasty that it matured and reached its peak in the Wei and Jin Dynasties. Among them, famous calligraphers, such as those in the Wei and Jin Dynasties, the statues of emperors in the Wu Dynasty and those in the Jin Dynasty, are all called "masters".

Cao Zhang's calligraphy posts handed down from ancient times include Ode to the Teacher, Zhang Zhishu posted by Chunhuating, First Aid by Emperor Xiang, and Reading Instrument Post by Suo Jing. Although it has been passed down to this day, it is still the best material for future generations to copy and learn because of its strong law, physical strength and independence.

The strokes of "Cao Zhang" are slightly wavy in official script, but the characters are independent and unconnected; This is a variation of Han Li's running script, which uses symbols to exert influence.

Modern cursive script

That is, the popular cursive script today, commonly known as cursive script, is said to have been created by Zhang Zhi (Boying) in the later Han Dynasty. Dan Wei said: "Learning from others' strengths and learning from others' strengths can be described as a sage's way, ahead of others and unparalleled." Zhang Huai's Broken Book said: "Since Du Du is superior to Cao Zhang, Cui Yuan and Cui Shi can continue. Boying got the method of Cui Du, so he learned something new, so he changed it to modern grass. The font is made in one stroke, with occasional interruptions and constant blood; Even with it, strokes will pass through its interlacing. However, Wang Zijing knows what it means, so the words in the first line often follow the previous line. It is said that a book originated in Zhang Boying, that is, this is also. " He added: "Every word in the Book of Cao Zhang is different. Zhang Zhi has become a grass, implicated up and down, or at the end of the word, above the word. It is called Zhangcao because of its "English grass". "This shows the difference between This Grass and Cao Zhang: Cao Zhang has a unique personality, which was sketched in official script, while This Grass was sketched in Cao Zhang, without the wave of Cao Zhang. Mr. Yu Youren said in the Preface to the Standard Cursive Script: "It is the law: reconnecting, eliminating waves, adding symbols to make it beneficial; The so-called principle of making big orders and giving poor holidays, people who are extremely careless get the most. "Press" to reshape and go to the waves. "The second language can be said to be the characteristic of Modern Grass, and it is also the place where the benefits of Modern Grass tend to be simple.

The calligraphy style of "Now Grass" was initiated by Zhang Zhi at the end of Han Dynasty, and reached a complete level in the Eastern Jin Dynasty, especially Wang Xizhi and his son were best at this style. Its graceful and changeable posture is really wonderful, and it has reached its peak.

Since Zhang Zhi in the later Han Dynasty, Wang Xizhi in the Eastern Jin Dynasty and great calligraphers in previous dynasties were also good at cursive writing, the traces of calligraphy in calligraphy posts have been widely circulated. Beginners of cursive script hardly know where to start. The picture above shows the score of Tang Sun Guoting's book.

Although this grass originated from the two kings, in Zhang Xu and Huai Su, it was able to get rid of the traditional grass method in Wei and Jin Dynasties and create a new look. In addition to physical fitness, it also benefits from madness, bringing this grass to a brand-new realm-famous for its madness.

The name "Crazy Grass" is said to be because of Zhang Xu. Before writing a book, he drank too much to arouse emotions or help natural phenomena to inspire. Call yourself crazy when you are drunk, and then write a book. The world calls it Zhangdian. Huai Su once quoted Li in his autobiography (left): "In the past, Zhang Xu's works were also called Zhang Dian, but now Huai Su's works are also called crazy monks, and no one can tell." As can be seen from the above, Wild Grass is due to the rapidity and strangeness of the book on the one hand, and the crazy attitude of Zhang Xu and Huai Su on the other.

Originally, cursive script was enough to express a person's personal spirit, tolerance, knowledge and create a new artistic conception. The bizarre, fast, flexible and changeable abilities of crazy scripts are more inspired by artistic conception. Describing Zhang Xu's cursive script in "Preface to Sending a Noble Master", Han Yu said: "Love, poverty, sadness, resentment, hope, drunkenness, annoyance and injustice. In things, you can see mountains and rivers, birds and animals in cliff valleys, insects and fish, flowers and trees, sun, moon and stars, storms and fires, thunder and lightning, song and dance battles, and changes in heaven and earth. " In this state, cursive script has been transformed by mind and matter, completely divorced from practical significance, and it is a pure advanced art form. There are Huang Tingjian, Zhu Yunming, Wang Duo and Fu Shan.

Cursive script is difficult for ordinary people to recognize. If you can't fully understand the written words, how can you appreciate them? Calligraphy is based on Chinese characters and is composed of points and lines, and various forms of points and lines are combined into ever-changing graphics. Points and lines written at different speeds are like a string of notes, rising and falling, rising and falling, and appreciating calligraphy is like listening to the melody and rhythm in music. Compared with other fonts, cursive script can be expressed more freely in the arrangement of writing space and the correspondence of points and lines, that is, cursive script can best express the spirit of calligraphy art.

regular script

Regular script is also called official script, or real book. Song Xuanhe's Book Score: "In the early Han Dynasty, Wang Cizhong began to use official script as regular script." People think that regular script evolved from official script. It is said: "On the tomb of Confucius, a regular script tree planted by Zi Gongzhi has straight and unyielding branches." The strokes of regular script are concise and refreshing, and must be like the branches of regular script trees.

In the early days, there were few official handwriting, the structure was slightly wider, the horizontal painting was long and the vertical painting was short. In Wei Jinzhong handed down from ancient times, such as Zhong You's "Declaration Form" (left), "Recommended Season Table" and Wang Xizhi's "Le Yi on Huang Tingjing" can all be regarded as representative works. Look at its characteristics, as Weng Fanggang said: "Change the wave painting of official script, pick it up, and still keep the vertical of official script."

After the Eastern Jin Dynasty, the north and the south were divided, and calligraphy was also divided into two factions. The calligraphy style of the Northern School has inherited the legacy of Han Li. Its brushwork is simple and rigorous, but its style is simple and rigorous, so it is called "Weibei". Southern calligraphy is more sparse and beautiful than letters. During the Northern and Southern Dynasties, because of regional differences, personal habits and book styles were very different. The books in the North are strong and the books in the South are rich, each of which is wonderful and inseparable, while Bao and Kang Youwei highly admire the books of the two dynasties, especially the epitaphs of the Northern Wei Dynasty. Kang cited ten beauties to emphasize the advantages of Weibei.

Regular script in the Tang Dynasty, like the prosperity of the national situation in the Tang Dynasty, is really unprecedented. Calligraphy style is mature, and calligraphers come forth in large numbers. In terms of regular script, Yu Shinan, Ou Yangxun, Chu Suiliang in the early Tang Dynasty, Yan Zhenqing in the middle Tang Dynasty and Liu Gongquan in the late Tang Dynasty all valued their regular script works and regarded them as models of calligraphy.

In ancient times, there was a saying: "Learning calligraphy must start with the pattern, and writing must start with the big characters. Chinese characters are based on Yan, Chinese characters are based on Europe, Chinese characters are familiar, and then they are gathered into small characters. " However, according to the results of many years of experimental research, it is not appropriate for beginners to learn too big words first, but it is more suitable for Chinese letters.

The regular script of Ou Yangxun, Yu Shinan and Chu Suiliang, three great calligraphers in the early Tang Dynasty, is the most suitable model for copying Chinese characters. This is a simple introduction as follows:

Regular script, which originated from ancient Li, is based on the style of two kings and the style of northern school in the Six Dynasties. They are unique in structure, unique in originality, authoritative and influential in society, and are the standard for learning books. Investigating the characteristics of regular script, the pen is strong and powerful, the strokes are neat and tidy, and the structure is cheerful and healthy. His representative works of regular script inscriptions include "Jiuchenggong Liquan Ming" and "Huadu Temple Monument".

Yu Shinan's regular script, elegant and graceful, inherited the legacy of the wise and brave Zen master and was the clique of the Wang school. Although it originated in Wei and Jin Dynasties, its softness on the outside and rigidity on the inside swept away the cowardice of Wei and Jin calligraphy style. His masterpiece in regular script is Confucius Temple Monument.

Chu Suiliang's regular script is famous for its sparseness and strength. Although he is the ancestor of the right army, he can win its charm. Its font structure seems very bold and unrestrained, but it can skillfully reconcile the quiet style and create an unprecedented situation. His masterpiece in regular script is Preface to the Sermon of Yanta.

Lower case, as the name implies, is the lower case in regular script, which was founded by Zhong Yao in the Wei Dynasty of the Three Kingdoms. He is the most outstanding authoritative official script master, and his regular script style is also born out of Han Li, and his brushwork is very vivid. However, the structure is wide and flat, the horizontal painting is long and the vertical painting is short, and the legacy of official division still exists. However, the model method is ready, and it is actually the ancestor of the official book. When Wang Xizhi came to the Eastern Jin Dynasty, he studied the lower case calligraphy more carefully and made it perfect, which also set a good appreciation standard for China's lower case calligraphy.

Generally speaking, writing small characters is very different from writing big characters. In principle, writing big characters should be close and seamless, and writing small characters should be more spacious. In other words: writing big characters should be as accurate as writing small characters; Writing small characters is as cramped as writing big characters, so the ancients said, "Writing big characters should be like small characters, and writing small characters should be like big characters." In Su Dongpo's prose, there is a saying that "the big characters are hard to be seamless, and the small characters are hard to be generous". How do you say these words? Because when we usually write big characters, we think that our position (area) is very wide and we can write freely. As a result, the fonts become loose and empty. Writing small print is just the opposite, because the space is too small, and it is inevitable that you will try your best to shrink it if you are worried that you can't write it. It tends to curl. This is a natural psychological phenomenon, which is easy to break. Therefore, the CPSU's statement that "there are great difficulties and minor difficulties" is based on this statement and is based on experience.

There is not much difference between the center of gravity of writing fine print and the coordination of strokes. As for the pen, it is slightly different. Small print should be round, beautiful, straight and neat; Big characters should be magnificent and heavy. Use the back front (hidden front) to write big characters and the back front to receive pens; You don't have to use sharp edges to write fine print, but use sharp edges to collect pens. For example, when writing a horizontal line, the pen is pointed or pointed, and the pen is round; Write vertically, start or pause, and receive the pen sharply; Skimming the pen to make it fat: hold the pen to make it fat, and at the same time bend slightly from left to right, with vivid and emotional strokes; Point should be sharp and round, pick should be sharp and sharp, bend inside and outside, and hook should be half bent and half straight. The pen is flexible and limitless. In particular, the whole word should be written in different strokes, but in harmony. A line of words is patchwork, but it has always come down in one continuous line. If there is, it will naturally run through and look like a pearl necklace.

Fine print is a necessary calligraphy for daily use in ancient times. Before taking the imperial examination, most people who read the papers read the words first and then the articles. No matter how good the writing is, the article will be affected. He was the top scholar in Korean Imperial Examination and Hanlin, and paid special attention to calligraphy. So every scholar and Hanlin's fine print is exquisite. Generally reading, they are also good at writing small characters. Hard pen is popular now, and few people write small words with a brush. But writing small words with a hard pen can get twice the result with half the effort. Therefore, if you want to write hard pen, you might as well find a good fine print and practice it. Will certainly lay a solid foundation, lifelong benefit, inexhaustible.

There are many copybooks in small letters, among which the reputation of small letters in Jin and Tang Dynasties is the most prominent. It usually includes Zhong You's Announcement Post in Wei and Jin Dynasties, Four Seasons Recommendation List, Wang Xizhi's Yue Yi Lun in Eastern Jin Dynasty, His Monument, Huang Tingjing, Thirteen Lines of Luo Shenfu, Ling Fei Jing in Tang Dynasty and Zhong Shaojing. There are also ink photocopies of works in lower case such as Yuan Zhao Mengfu, Ming Wang Chong and Zhu Yunming, which are also good examples.

Semi-cursive/running/calligraphy (China's calligraphy)

According to legend, there are two versions of the origin of running script:

1. According to Zhang Huai's Broken Book, "The calligrapher was created by Liu Desheng of Yingchuan in the later Han Dynasty, that is, the book was small and simple, so it was called a running script." From the statement that "running script" is transformed from "official script"

Secondly, according to Wang Sengqian's Book Title of Ancient Energy, "The book of Zhong You has three bodies: the book of the stone is the best; Second, the articles of association, secretary, primary school teacher; On the third day, I wrote a book, and so did the people who heard it. Hedong Weikaizi adopted Zhang Zhifa's method, participated in Kaifa's method, and even drafted it. The draft is also a book. " From the facts, running script, also known as running script, was originally developed from the signing of line drawing. Those who hear each other mean to believe.

Advantages of running script: "On Books" says: "Running script is neither grass nor true, but between discipline and Mencius; The true person is called the true line, and the person with grass is called the grass line. " Xuanhe Pu Shu also said: "It is true that sweeping the floor and obeying the law is a matter of detention, and grass is a matter of release. In between, the words are well written. " Running script is neither as complicated as regular script, nor as wild as cursive script. Because of its advantages of "eclecticism, easy recognition and easy writing", it is used in all kinds of letters and letters, and it has also been studied in ancient and modern times, paying special attention to this style. For a long time, it has become the most popular font in society and the most practical font in daily life. In terms of application value, it is the largest. Therefore, it can be passed down from the later Han Dynasty to the present, enduring for a long time.

Ma Shu

Ma Shu, also known as Ma Ti, Ma Shu Ti and Ma Ti calligraphy, was created by contemporary calligrapher Ma Yongan. Ma Shu is a new style of calligraphy on the basis of inheriting traditional calligraphy. Compared with traditional calligraphy, six marks and five marks are completely different from traditional calligraphy, which is a brand-new concept and style.

Ma Yongan, 1956, a native of Shangcai County, Henan Province, joined the work in 74 years. 8 1 After graduating from university, he worked as a reporter and editor in People's Daily, Ministry of Radio, Film and Television and Ministry of Culture, and served as deputy secretary-general and secretary-general of China International Painting and Calligraphy Research Association and China ATV Painting and Calligraphy Institute. During this period, he published several literary works and calligraphy and painting works. In 2002, he published Ma Yongan's discovery rate, and in 2003, he wrote the PH value of SARS nemesis. After 2003, he was mainly engaged in the creation, research and teaching of calligraphy and painting, and was responsible for the daily management and administration of calligraphy and painting. In 2005, he was hired as a professor of Huaxia Art College, consultant of Nanchang Tengwangge Cifu Research Institute in 2006, secretary-general and vice-chairman of China Calligraphy Artists Association in 2007, vice-chairman of China Artists Association in 2008, chairman of China Art Collectors Association and curator of Longshuncheng Art Museum in 2009, and executive chairman of China Calligraphy Artists Association. In July 2009, calligraphy was named "Horse Calligraphy" by China Calligraphy Xintiandi Research Center, and was included in the modern book spectrum. On February 10, 10, Ma Yongan's calligraphy was officially named "Ma Style Calligraphy" after experts' confirmation and the registration certificate issued by China National Copyright Administration, which became the sixth style of China's calligraphy after the five styles of running script, cursive script, official script, seal script and regular script. The influence of horse calligraphy on China's calligraphy is extremely far-reaching, which will be more and more clearly recognized in the future development.

The structure of horse calligraphy is based on the original book, supplemented by the side book (not mentioned before, but relative to the original book), and the front and side are interactive and vivid. Traditional calligraphy, regular script is regular script, cursive script is cursive script, the front is clear and slightly dull.

Horse calligraphy follows the trend, with high left and low right. It follows the trend and stretches smoothly, which conforms to the mainstream aesthetic orientation and is more concerned. Traditional calligraphy, which remains unchanged for thousands of years, is low on the left and high on the right, goes against the trend and is blocked but not smooth, which does not conform to the beautiful aesthetic ideal of mankind.

Horse calligraphy is smooth and natural, without any affectation. The cursive brushwork of seal script has opened up a broader aesthetic space for calligraphy art. Traditional calligraphy, because the pen moves against the trend, can only fold the pen to write, with an extra pen, lacking flexibility. The official script has just passed death, and the cursive script has gone to the other extreme. These are not in line with the traditional philosophical thinking and fundamentally violate the aesthetic consciousness of the theme.

There are many kinds of stippling in horse calligraphy. Compared with traditional calligraphy, it is an invention. Horse calligraphy, pen in the pen, pen in the plate, as thin as silk, with the nib outside. If the pen is light and heavy, if it is light and unscathed, if it is heavy as a cloud, it will be full, such as folding bamboo, which is refreshing. Traditional calligraphy, a method throughout the ages, wants to be right first and then left, and wants to be up first and then down, and accepts everything. Everyone is stuck in a rut and lifeless.

Mi Fei, a great calligrapher in the Song Dynasty, said, "A good book is enough." . Horse calligraphy has formed its own unique style in structure, posture, brushwork and stippling.