Appreciation of Liu Xiaoqing's Selected Calligraphy of Xiao Kai
Selected pictures of Liu Xiaoqing's lower case calligraphy 1
Selected pictures of Liu Xiaoqing's lower case calligraphy 2
Selected pictures of Liu Xiaoqing's lower case calligraphy 3
Selected pictures of Liu Xiaoqing's lower case calligraphy 4
Liu Xiaoqing's personal data
Liu Xiaoqing, 1942.6, 1 drift, Er Quan, Zhai Ming? A scoop? Chongming, Shanghai. Graduated from the Department of Traditional Chinese Painting of Lu Xun Academy of Fine Arts, he was the vice chairman of Shanghai Calligraphers Association, and now he is a member of the academic committee of China Calligraphers Association, an adjunct professor at the College of Literature of Shanghai University, the dean of Shanghai Hudong Academy, the deputy editor of calligraphy magazine of Shanghai Calligraphy and Painting Publishing House, and the librarian of Shanghai Literature and History Museum. He studied under Qian Shoutie and Ying Yeping, and was good at writing landscapes and painting landscapes.
His works have participated in the 1st to 7th China Calligraphy Exhibition and dozens of Shanghai exhibitions. Such as Shanghai Calligraphy Sketch Exhibition, Shanghai Calligraphy Seal Cutting Exhibition, the 6th Shanghai International Calligraphy Exhibition, Shanghai Memorial Shen Calligraphy Exhibition, Shanghai Modern Calligraphy Exhibition, China-Japan Modern Calligraphy Exchange Exhibition, Shanghai Hundred Calligraphy Exhibitions, and China Calligraphy Association Member Boutique Exhibition.
He has published a series of books, such as Juvenile Calligraphy Practice, Introduction to China's Calligraphy Techniques, Calligraphy Art Creation and Appreciation, China's Calligraphy Techniques Review, How to Write Running Script, Basic Knowledge of Running Script, Guide to Writing Techniques in Small Block Letters, Brief Notes on Calligraphy Techniques, Poems by Famous Liu Xiaoqing Scholars in Past Dynasties, and The Book of Yuyuan Garden.
Basic principles of regular script creation
The method is based on reason, and learning calligraphy can not only seek form, but also require god. It has three basic principles for reference.
The structural beauty of glyphs must conform to the principle of natural beauty.
Cai Yong, an ancient calligrapher, said in Nine Potential:? Fu Shu originated from nature and was established naturally. What is the birth of Yin and Yang? . Chinese characters have different structures such as length, size, skew, density, width and thinness. When dealing with the contrast of glyphs, we should conform to the natural shape.
It should conform to the basic principle of unity of opposites.
Structural beauty is a kind of beauty of unity of opposites. The structure of calligraphy complements each other through various changes, such as straightness, density, length, size, staggering, unfolding, opening and closing, pitching and back-to-back, and achieves the overall beauty of fairness, symmetry and coordination by the method of unity of opposites.
Must be combined by gestures.
Calligraphy creation is a continuous movement process. What is the factor that connects all stippling with words? Potential? . ? Potential? Divide pen potential and body potential. The gesture of the pen represents the continuation of time, and the gesture of the body represents the expansion of space. As a moment in the process of movement, each word will make different reactions and changes according to different gestures and body postures. Therefore, if a word is to be written well, it must be integrated and used through the gestures of objects, so as to give full play to the tension and expressiveness of the font.