Calligraphy is a traditional Chinese art It is the carrier and symbol of the spiritual civilization of the Chinese nation and the precious heritage of ancient Chinese traditional culture. The following editor brings you a complete collection of running script calligraphy fonts, I hope you like it.
Run script calligraphy font 1
Run script calligraphy font 2
Run script calligraphy font 3
Running calligraphy calligraphy
Xing Qi involves the connection between characters in each line, which is an important part of running script. It is expressed through the internal (intangible) or external (tangible) movement trajectory full of charm, interest, and vivid changes. Zhu Hegeng's "Linchi Xinjie" said: "Book writing is expensive. All writing, there is a connection between the upper and the lower, and there is an echo between the left and the right. Only by stacking one piece can it be perfect. That is to say, numbers, several lines, dozens of lines, Always be united in spirit, and the spirit is not distracted.” Therefore, the movement of Qi is the main factor for the brilliant and flying calligraphy of cursive writing, and mastering the movement of Qi is the most important condition for the white writing of running script.
There are two ways to penetrate Qi in running script: one is to seek potential by shape, that is, to find out various internal laws through copying and appreciating rubbings; On the basis of various laws, through one's own digestion, absorption, mastery, and finally gain freedom in the laws, so as to achieve a state of handy and free use.
1. Seek potential by shape. It is required to be proficient in structure and precise in brushwork. The knot is in the heart, the brushwork is in the hand, and the unity of the heart and hand will make the spirit calm and have a lingering rhyme. Jiang Kui's "Continued Books" said: "I have tasted and observed the famous books of the past, and all the paintings vibrate, as if seeing their luck." This is a manifestation of skillful brushwork. The trend of smooth strokes will form the font, and the momentum of exhaustive strokes will make the calligraphy exquisite. The order of strokes can be from top to bottom, from left to right, from outside to inside, from middle to side, from inside to outside, and each has its own natural trend.
Wang Xizhi's "Orchid Pavilion Preface" is that "the one that originates from the left should respond to the right, and the one that originates from the upper should fall on the lower". The characters below look up to the characters above, the characters on the right should take care of the left, and the characters on the left should take care of the right. Don't make sure every word is the same, and the top and bottom are even, otherwise, the layout of a line will be separated from the whole composition.
The method of "Scale and Feather Variation", one of Zhang Huaiguan's "Ten Methods of Using the Brush", is not only useful for the formation of a character, but also especially important for the movement of Qi, that is, through the shape of each character, or Square or round, or triangular, or long, and intricate changes in size to make characters coherent.
Liang Tongshu pointed out in "Pinluoan Lunshu": "Writing must have spirit, and spirit must be obtained from familiarity. If there is spirit, there will be momentum, size, length, height and uprightness. Whatever you write, you will naturally focus on it." It becomes a piece, but you can't manipulate it in the slightest, and you will know it after you are familiar with it." Therefore, in order to seek momentum from the shape and freely sway it, you must get it from familiarity. ", "Let the pen be the body, gather the ink to form" the behavior is hasty, the characters have been written before the method is prepared, or the fear of doubts, the thinking has not been developed, and the qi is bound to be unable to flow smoothly.
2. Shape according to the situation. Writers are required to focus on writing first and have a well-thought-out plan. The charm is based on the movement of the heart, and the spirit is born from the use of the brush. The blood of the characters is all concerned about the lack of the brush. Before he writes, he feels that there is a vigorous momentum in the palm of his hand, that is, when the magic opportunity first arrives, he manages at will, guides the opportunity, and the more he draws, the longer the drawing, the shape follows the trend, and the strokes come out horizontally. Injected by the blood, carefully gathered under the wrist, "new principles and abnormalities, endless changes".
Furthermore, momentum is backed up by strength, the stronger the strength, the stronger the energy, and the stronger the brush, the smoother the momentum. Li Shimin pointed out in "On Books": "When I come to the books of the ancients, I don't study the situation. I only seek its strength, and the situation generates its own ears." Although this is biased, it also shows the relationship between power and force. There is a wonderful way to complement each other. If it is vigorous, the length of the words and the pitch of the voice are suitable; if the strength is strong, the charm of the characters and the charm of the calligraphy are sufficient. Therefore, if the situation is in your hands, you have the thoughts of the past and the future in your chest, and you have the momentum of thousands of miles under your wrist, you can reach the wonderland of uncanny workmanship. In this way, the ancients are transformed, all changes are overflowing from the heart, and the mastery of the rules is easy.
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