Ma Baoshan's classic calligraphy?

Ma Baoshan has published Yi Dao Calligraphy, Yi Dao Yao Shuo, Yi Dao Ji, Yi Dao Gua Shuo, Yi Dao Taiji Shuo, Yi Dao Xiang Shu Logic and Yi De Shuo successively.

Ma Baoshan has published Yi Dao Calligraphy, Yi Dao Yao Shuo, Yi Dao Ji, Yi Dao Gua Shuo, Yi Dao Taiji Shuo, Yi Dao Xiang Shu Logic and Yi De Shuo successively. In the field of philosophy research of the Book of Changes, a brand-new perspective, a brand-new concept, a brand-new method, a brand-new argument and a brand-new system are given. Below, I arranged the pictures for you, hoping to help you!

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Ma Bao Shan's Personal Profile

Ma Baoshan, Shou Chang, pen name Fu Ying, real name Yi Ming. Calligrapher, Yi Dao calligraphy, creator. 194 1 Gujiao, Taiyuan City, Shanxi Province, university degree, senior editor. He has served as vice president of Legal Daily and deputy editor-in-chief of China Lawyer's Newspaper for many years. He is currently the executive vice president of China Behavioral Law Society, the president of Tiantai Yi Dao Research Institute, the president of Yi Ming Painting and Calligraphy Institute, and the honorary president of Huaxia Metropolitan Journalists Club.

He has published Yi Dao Calligraphy, Yi Dao Yao Shuo, Yi Dao Ji, Yi Dao Gua Shuo, Yi Dao Taiji Shuo, Yi Dao Xiang Shu Logic and Yi De Shuo. In the field of philosophy research of the Book of Changes, a brand-new perspective, a brand-new concept, a brand-new method, a brand-new argument and a brand-new system are given.

Technical characteristics of running script

Running script has the characteristics of both regular script and cursive script, but it is by no means that you can write beautiful running script by writing regular script well. Running script, as an independent character, has its own characteristics in its development. To learn running script well, we must go through special copying training and master its brushwork and writing rules. We introduce the technical characteristics of running scripts from two aspects:

In terms of brushwork:

Take advantage of the trend to write: running script is no longer like regular script, which requires going backwards and forwards, hiding the head and protecting the tail. Instead, the pen enters the front, the pen moves with the heart, and the pen follows the trend, or the pen is involved, or the front is picked. Never go back to the front. So many strokes have been changed. The following pages. Most of these strokes are exposed. The brush gesture is obviously smooth. It also makes the running script more curved, and the strokes should not be too straight, which increases the sense of stippling and will not stagnate. These changes in brushwork naturally accelerated the speed of writing.

Echo of stippling: Because calligraphy and pen collection no longer return to the front, but mostly put forward the pen tip, forming a stippling hook, that is, when the last pen ends, it goes down with the trend, while the next pen naturally inherits, so that although stippling is disconnected, the pen is disconnected, resulting in obvious concern and echo relationship. Obviously, these condescension and echoes make the font more vivid and interesting.

Leading strings: The ticking between the dots and the painting makes them expect an echo. Sometimes this echo is written as a hairspring through the pen tip, and two or more strokes are connected in one go, which makes the words appear coherent and unique. Generally speaking, the inherent strokes of each word are heavier, and the connection between the two paintings is lighter, but they can't jump completely, otherwise it will appear unremarkable. Binding effect is one of the main features of running script, but it should be used properly. Blindly implicated and entangled, when intermittent, but self-defeating, forming weakness, is the taboo of running script writing. A calligrapher once said that "the effect of connection and disconnection is different, and it is easier to connect than to disconnect, so you should know when to disconnect". Therefore, it is another important feature of running script to separate the ribbon tied with thread from the echo of stippling to distinguish their different functions.

Abbreviations and ellipsis: As mentioned earlier, Lian can write two or more strokes together, which has actually simplified and accelerated the writing speed, but its original strokes have not decreased, only the strokes are related and do not exist alone. In the running script, it is even simpler, that is, the original stippling is simply merged to form a unique writing method in the running script. For example, replacing the middle four vertical points and the lower four vertical points of the word "Wu" with a set of connected vertical strokes not only keeps the appearance of the original word but also simplifies it. The rest of the words are written in this way. Sometimes for the convenience of calligraphy, you can even change the original stroke order when writing calligraphy.

The change of collection and interpretation: compared with regular and rigorous fonts such as regular script, official script and seal script, running script has the same characteristics as cursive script. That is, it can adjust its font and stroke shape at any time according to the needs of composition and the characteristics of a word. For example, the characters in Wang Xizhi's Preface to the Lanting Pavilion can be restrained or indulged, and they can expand and contract at will, so that they can do it longer. This is the characteristic that running scripts can be collected and released.

Departing from the square and avoiding the circle: Regular script has many circles and few squares, and many folds, that is, Zhao Mengfu's writing style with the turning point of the circle as the main part also reveals the meaning of the square, which is undoubtedly necessary and adds some strength to the characters. Running script moves with the trend and changes endlessly. Fiona Fang is flexible and vivid. Therefore, notice the changes in Fiona Fang, and make it blend naturally, so that the effect of writing has both the rigidity of Fang Bi and the fluency and agility of a round pen. If you fold the square blindly, it will look stiff, while if you simply turn the circle, it will look vulgar, slippery and weak. In short, we should observe more in our study and think more in our creation.

Heavy pressure and light lifting: Some strokes in regular script, such as stopping writing and reversing writing, are no longer used or rarely used in running script, and more are carried out according to the trend. Where it is light and thin, you need to close the pen and lift it gently, a little faster. The heavy part needs to be pressed again, and the speed is a little slower. Of course, the alternation of stroke thickness should have a reasonable ups and downs process and be natural. Lifting and pressing can be seen almost everywhere in the running script, and the change of lifting and pressing within one word is just like what is said in the preface to the collection of words: within a painting, there should be a difference between light and heavy.

As for the layout of an article according to the needs of composition, it is also common in running script works. Calligraphers of all ages have their own experiences. If we carefully taste the works of later generations, we can appreciate the wonderful use of lifting pressure in running script writing.

The wrist is just right: "The beauty of calligraphy is at the end of the pen." Today, it seems that some people think that the previous judgment is biased. Others, such as composition and ink painting, are also important. But calligraphy is the plastic art of lines, and improving the expressive force of lines is often the lifelong pursuit of calligraphers. Composition, ink painting and so on are inseparable from lines to complete the performance, and the expressive force of lines lies in the use of pens. Therefore, the previous statement can be said to be correct and cannot be ignored.

When it comes to using a pen, you can't help but mention your wrist. The two are inseparable. This point is often ignored or confused by beginners of calligraphy. As mentioned above, the movement of the pen can combine different styles of works, such as beauty, strength, simplicity and childishness. So what is the key to using a pen? Of course, it is the brain, but the idea of the brain is completed through the reasonable cooperation of fingers, wrists and arms. Fingers are too thin and delicate, and exquisiteness may be acceptable, but overall, it is not enough. No one can write complete Chinese characters. The arm is too thick, writing a list may not be satisfactory, but it is not satisfactory to be perfect. Then only the wrist is in the middle, which can play two roles. In particular, the agility and exquisiteness of the running script sometimes depends entirely on the movements of the wrist.

Wrist movement means that in the process of writing, the wrist should consciously command the brush to swing left and right, and slowly press it down to change the illusion. So that the writing effect is smart and smooth. For example, when writing hundreds of Chinese characters, the wrist must be tilted to the left and pushed to the right, and the end of the wrist in the horizontal direction must swing to the right immediately. When the pen is lifted, it will be pressed inward to a small vertical fold to lift the front to the right, so that the rotating belt will lift the pen inward to collect some points. This series of movements is the left and right rotation of the wrist. If you only use your arm to move the pen, it is obviously difficult to accurately write the lines with changing light and heavy, and it is even more difficult to accurately show some dexterity and write half a foot. Of course, if you write Berberis, you need the help of your arm, and the control pen is done by your wrist.

Therefore, wrist movement is a crucial exercise course in cursive writing practice. Of course, the coordination of wrists, arms and fingers can not be ignored.