Good king, how is the team?

As for official script, people generally praised Han Li and official script in Qing Dynasty. In fact, the tablet of the good king in the Eastern Jin Dynasty has an important artistic position in the official script. The monument stands on the east side of Haoda Mausoleum in Ji 'an County, Jilin Province, and was discovered by calligraphers in the sixth year of Guangxu in Qing Dynasty (AD 188 1 year). The inscription is undated. According to textual research, it was carved by Yixi in the Eastern Jin Dynasty in 10 (AD 4 14), with ***44 lines and 1775 characters. The inscription describes the achievements of the ancient Koguryo dynasty's 19 generation king Xi Zheng in opening up the territory, so he was honored as "a good king with a vast territory and peace."

It is generally believed that the calligraphy of "The Monument to the Good King" is simple, round and vigorous, with the legacy of seal cutting in Zhou and Qin Dynasties, which is quite different from the elegant and elegant calligraphy style represented by "Two Kings" in the same period. In my opinion, the tablet of the good king is based on official script, with seal script as its function, and occasionally has the characteristics of regular script. The overall morphological characteristics of "Haojing Monument" belong to official script, but it appeared in the late Eastern Jin Dynasty, which has been 200 years since the official script matured in the last Eastern Han Dynasty. At that time, calligraphy in the Central Plains, represented by the "two kings" such as Kai, Xing and Jin cursive scripts, was mature and popular. It may be that the ancient Koguryo dynasty was located in the northeast border, and its cultural development lagged behind that of the Central Plains. Therefore, when the font of the Central Plains in the Mainland was changed from official script to regular script and running script, they still used ancient official script, which is very similar to the situation that Erchi, which originated in the southwest border almost at the same time, also left a legacy of official script, especially except for Erchi. However, at this time, the regular script of the Central Plains in the Mainland is mature and influential, and the structure of some words in the Monument to the Good King also shows the characteristics of regular script. For example, next to the word "Yan" in the monument, the first picture is written with a short horizontal line, but it is written a little bit, which is the writing method of regular script; For another example, simplified characters similar to later generations appeared in the tablet, such as "dedication, combination, harmony and secret", which is the application of cursive script, one of the simplification methods of Chinese characters. The monument of this good king has unique artistic value: "Where have those lost times gone before me?" Behind me, are the future generations? " Because it combines seal script with official script, and under the current situation that the calligraphy circle pays attention to innovation and diverse calligraphy styles, it is very enlightening to calligraphers who are keen on official script creation.

In my writing, I think the Monument to the Good King has its own characteristics compared with mature Han Li:

1. From the structural point of view, the structure of the Good King Monument has a unique and clumsy taste. This clumsiness is different from Gu Zhuo in Han Li's Zhang Qianbei, and it is also different from the broad and vigorous clumsiness in The West Chamber and Ode to the Pavilion. Many calligraphers, such as Mr. Zhu Yisa of Fuzhou, think it is a kind of "childish clumsiness", but I further analyze it as "stupid clumsiness" in "childish clumsiness", that is, it does not belong to smart and delicate children. First, the font is square, and there is no horizontal trend common in Han Li. Sometimes combined with the radical of a word itself, it is flat or longer, which is different from the general Han Li glyph. The center of gravity of most characters is slightly lower than the center, similar to the structure of Weibei and epitaph. Second, the glyph is tight outside and loose inside, like Yan. Each stroke of a painting is as long as it is and as short as it is. The long paintings of some words are also shortened on purpose. Most characters don't particularly emphasize the extension of the so-called "main pen", which is different from Shimen Fu, but similar to Gao Ge Fu and The West Chamber. Third, the proportion between the parts of the combined word is generally balanced, but some parts have special treatment. For example, every box-shaped "mouth", "day" and "field" are written in a particularly large size, and each word is particularly prominent; Another example is the radical "Zou Zuo", "San Dian Shui", "Li Dao" and "Li Dao". Write more succinctly and take up less in a specific word. Because the special treatment of these parts is different from the usual rules, it shows the unique taste of a good king monument.

2. From the perspective of brushwork, Haowang's brushwork is relatively simple, mainly with a pen in the center, just like Xiao Zhuan. Compared with mature Han Li, the lines in The Monument to the Good King are mainly round pens, and Fang Bi is less. The strokes are basically round, without decorative silkworm heads and goose tails. There are not even symbolic waves like the horizontal, left-handed and left-handed paintings in Ode to Shimen. Almost every stroke is straight, but both the left hand and the left hand are slightly curved, much like the word "bold" in modern art words, which is the biggest difference with Han Li. In addition, the horizontal folding strokes of Haojing are also different from those of Han Li. Basically, Lian Bi's horizontal paintings are directly folded, sometimes in the shape of an outer circle. Unlike Han Li, he writes a horizontal picture first, and then a vertical picture.

3. From the perspective of composition, the word spacing of "Good King Monument" is slightly larger than the line spacing, but the ratio of word spacing to line spacing is not as obvious as that of Han Li, and sometimes it is almost close, and the composition is relatively dense. Generally speaking, Han Liru, such as Shi Chenbei and Cao Quanbei, has a significantly larger word spacing than line spacing and sparse composition. Compared with Chinese characters, the size of the characters in the monument to a good king is different, which is generally determined by the number of strokes of a word itself. Words with more strokes are bigger, and vice versa. There are also cases where a certain part of the monument is written in a big way. In short, unity is contradictory. Although it is an inscription for the imperial tree, it does not deliberately pursue uniformity.

The monument to the good king was discovered late because it was located in the border. Its own rubbings are handed down from generation to generation, with a history of only a hundred years, and its influence is not great. Compared with mature Han Li, its strokes are not as "authentic" as silkworm heads and goose tails. Coupled with its special taste, it is difficult to grasp, so fewer people write. In my opinion, due to the simple brushwork of Haojingbei, it is not suitable for beginners as official script. Unlike mature Han Li, who has obvious waves and strokes, his performance is not strong. Starting from learning official script is not conducive to mastering the basic brushwork essentials of official script. However, after learning the official script, we can make some efforts to learn from it, which will help to form a personal artistic style. There are several points to be grasped in writing good scenery and applying it to calligraphy creation:

First of all, we should pay attention to the taste of understanding and writing. When writing The Good King, the main purpose is to be able to write its childish interest, and carefully understand its unique structure, so as to master its word-formation rules and rules, so that when writing words that are not in the tablet, the work can be written like The Good King, that is, to write the spiritual outlook of The Good King. Because "Good King" is a royal inscription after all, its word 1700 is actually unified in memory, and many of the same words and radicals are basically the same. Therefore, it is relatively easy to write words that are not in a tablet like "Good King". This point, unlike some epitaphs of the Northern Wei Dynasty in almost the same period, is a kind of careless clumsiness, and it is difficult to master a word that is not in the epitaph to write the flavor of the epitaph. However, it is precisely because of this easy-to-understand regularity in the structure of The Good King that conceptualization and patterning often appear in writing and creation, and the works are not vivid. In addition, due to the different aesthetic tastes, some calligraphers like to "refine" some rubbings with poor taste. For example, Mr. Gongda Yan and Mr. Guan Jun, who wrote about Wang, are relatively organized and elegant, and they belong to absorbing some spiritual breath of Wang, transforming them and writing their own faces. I think writing The Good King should strive to write its childlike innocence and wildness, because this is the unique artistic value of The Good King that distinguishes it from other Han Li.

Second, pay attention to the quality of tempering lines. The reason why calligraphy has become an art lies in the quality of lines. Writing "Good King" is about the quality of lines. Because it has no decorative silkworm head and goose tail, each stroke is a straight and simple line. If there is no quality and "stone" in this line, such a "good king" will be nothing. The quality of lines mainly depends on long-term practice of brushwork, constantly trying to figure out the relationship between pen, ink and paper; At the same time, choosing the right pen, ink and paper is also an important external condition to show the quality of good scenery lines. Personal experience: ① replace the long front pen with a short front pen or a center pen. The former is easy to write round lines, while the latter is easy to write elegant and smooth lines, while the good king lines are mainly round; (2) Use a little rough paper, such as fringed paper and meta book paper, to keep it quiet. I like to use a kind of bamboo paper produced by Fujian farmers' small workshop. Because the paper is not very smooth, there will be resistance when writing, and dry burrs will easily appear up and down or left and right of the lines, showing an endless meaning and giving people the feeling of being a king's line. Writing with raw materials, such as write slowly, easy inking and quick writing, can have the effect of dry writing, but it is difficult to show rich feelings, which is far from being a good king. ③ Use thicker ink. Lines written in thick ink tend to feel heavy, but thick ink doesn't mean greasy, turbid and unchanged in ink color. If the ink is too thick and greasy and the writing speed is fast, the ink will not easily enter the paper, and the ink color will float on the paper, so it will not be "transparent". Pay attention to the harmony with water, so as to be strong but not greasy. Coupled with the change of stroke weight, the ink color will also have a dull and dry effect, so the quality of lines is naturally high.

Third, pay attention to the combination of temporality and creativity. As mentioned above, it is best to write well and learn the word king after learning official script. Because there is a certain foundation of official script, you can simulate creation after you know something about writing a good scene, especially writing words that are not in the scene like a good scene, and handling the relationship between words, that is, composition, which can be solved in creation. At the beginning of the creative stage, it may not be easy to write the spirit of the king. We should carefully analyze the shortcomings, and then stick to it with our hearts to deepen our understanding of a good king. In this way, it is possible to "write like a god" through posting-creation-posting-re-creation. I liked The Good King many years ago, but after writing it for a while, it was always rigid and uninteresting. I have written epitaphs and statues of the Northern Dynasties for several years, and I have written Wang well in recent years, and I have a new feeling. Now I create my works in the style of Good King, and sometimes I have to write dozens of words to get myself into the "prescribed scene", so that my works can be vivid, interesting and artistic.