The rules refer to the way in which the whole work is arranged, the correspondence between words and words, lines and lines, care, etc. It's called "blub." it is also called the magna carta。
It refers to the overall organization of a work of calligraphy, also known as chapter structure, which is an important component of the art of calligraphy. The artistic requirements of a single work require not only the writing of each word, but also the completeness of many words. In between words and words, lines and lines, and until the foot of the sky and the subject matter is printed, a general design must be made and a rational layout must be made. The way in which the work is organized, the way in which the subject matter is addressed and the way in which the work is stamped are all part of the statute. The whole structure, the lead tie, the first end of the line, the choreography, all of it, all of it, all of it, all of it, all of it, all of it, all of it。
It is customary to refer to a single word as a drawing set, and the relationship between a word and a number is a “small rule”. A clear gentleman's book called "the book of books" is a cloud: "the ancients write words in writing. The last structure corresponds to the last chapter. So the cloud: 'the rule of one word at a time; the word of the last'." ming tshang, "the painting room goes with the book? The book of the ancients is a matter of law, and so is the so-called "smuggling of the streets." and the remaining example of mimud, the escalade of the garden of the west, is a fan with a string that is straight. There is no other way, but to watch out for the book. The right-wing army, lantinshu, is the first of its kind in history, and its words are born, small or large, as they are, into the law, so it is a sacred thing.” thus, in a book of calligraphy, the book must be written in such a way as to deal with the whiteness of words, the whiteness of words, the whiteness of words, the whiteness of words, the lightness of words, the ease of words and words, and the appearance of signs between words and lines, such as self-absorption, fine harmony, and the effect of the words “ginson in words, jade in action”。
There are three broad forms of white: first, there are lines, and second, there are lines, and third, there are lines, there are lines, there are lines, there are lines, there are lines, there are no lines, there are artificial beauty, there are artificial beauty, or there are “floods,” there are natural beauty。
There are four rules: one for each other, two for each other, three for each other, one for each other, one for each other, one for every other, and one for every other. To avoid peace; and to avoid it. In contrast, the more complex and simple, heavy and light, real and vanity, movement and noise, the clearer the two sides are, the more prominent they are, the less they are. Finally obeying a "gang" word, it's important. It must be tendentious, and once it has been determined, it must be increased, not reduced, by big paragraphs, small paragraphs and even a handwriting. Predisposition is one-sided. On the other hand, if we move forward, we will fall, close to the edge but not lose our focus. The greater the focus, the greater the momentum. Propaganda, but not the same. Large and large echoes, small echoes and small echoes have feelings and a general banner is an integral part。
Basic knowledge of the map
1. Dispersion
China's painting of mountain water is based on a “discretionary lens” that is not limited by space and sight. The term "distant perspective" is also called "move point perspective". When using a “distant-point perspective”, painters can observe the scenes from a certain position, and the view points can change from one place to another, from one place to another, from one point to the next, from one point to another, so mountain paintings, especially long-rolled and axle-axis, can combine a view, look, look, look, look, look at, look at, look at, look at, look at, look at. Zhao meng-du's prayer and punishment, and he's wearing a dazzling coat and a bathing suit
2. Three ways away
In the forest springs, song dynasty guo-hee wrote: “the mountains are three miles from below and rise from the top of the mountain, they are far from before and after; they are far away from the mountain.” the “three distance” is the perspective of the painter's creation. The word “high” is looking, the word “high” is looking down, and the word “peace” is looking down. “down” can look at mountains, and hirano cannot look at them; “deep” can look down at heights, and can show persistent mountains; and “down” can show mountains that are flat or not high, and not high mountains。
(a) a distance: from the mountains, from the mountains, from the mountains, from the mountains, from the mountains, to the mountains. (see figure i)
Far-reaching: a view of the mountains from above, of the mountains from before, of the mountains from behind, of the "s" or "s" shapes similar to those in the western drawings, is overlooking. (see figure ii)
Wang mon's hayama invisible map uses far-reaching legal drawings to see the whole picture. And it is thick, and it is true, and it is true, and it is secret, and it is well dispersed。
High: from the bottom of the mountain, a pyramid, a monumental map similar to that of the west, is seen. (see figure iii)
Joo-teng's smoke river map uses a high-intensity perspective. The treestone on the left echoes the rock on the right. And the rock on the left side is sharp and well-drawn; and the mountains and clouds behind it are in vain and in contrast。
Rule of law
One, a book and a book
Calligraphy begins with the subject (the text of the text) and the mastership is established, so that the guest can grow around the subject, or hide or show it, or, or leave it, with the aim of enriching its space and level, and the image of the subject is becoming more prominent and perfect. The written content of a calligraphy work is not the most important aspect of a literary work from the point of view of the arts, but writing what is carefully chosen by the author, and the content of the work sometimes indicates the author's emotional and level of upbringing. The content adds to the work a sense of taste, a great amount of texture and a new form。
Ii. Balance between hands and hands
It's a beautiful work. It would be discomfort to be surprised and dissatisfied by the loss of peace and stability, so the rules of calligraphy could not be balanced. It's usually easy to get, it's hard to find art. Only by seeking balance in a change of opportunity, and by striking balance in an imbalance, is beauty to be found, so the legal order of calligraphy has to be changed before it is even; first it has to be curious and then it has to be steady before it can become magical and transform normal phenomena into artistic aesthetic images。
Iii. Disconnection
Like music, usually accompanied by the climax of the musical instrument, the concentration of the calligraphy line is often the subject of the work. It's so intuitive, it's so obvious. It's just that it's a matter of balance, logic, not big differences, otherwise it's either congested, it's scattered, it's impenetrable, it's leaky, it's a very secret light, it's the wind of the temple, it's cool, it's cool, it's in the deep, it's a pipe, it's gas. So, in terms of the doctrine, it's a matter of experience. There is also a need for some concentration of the evacuation sites (for the drafts), which are not exhaustive, “small and small”. This is how to draw and echo one another. There's both concentration and change。
Iv. Managing round gaps
This is still the beauty of the contrast, a work that, in large measure, should be rounded and misconstrued. Ploting like grass should avoid the appearance of a full parallel line or a mechanical arc, and certainly there is no need to make a difference, so as not to be stale or piecemeal. There is also a need for change between the differences, which cannot be equated. Sometimes it is necessary to have a margin in the overall context, and sometimes it is considered to be an integral one. In a small way, in terms of specific images, it is equally necessary to have a gap in order to be durable。
V. The meaning of gaps
With regard to the doctrine of calligraphy as a whole, two clear-cut literatures do matter: “the white of the galleries, the white of the hand, the white of the mess, the white of the eye, the white of the eye” (the raft). "a place can walk, a place that doesn't go through the wind, a place that's always black and funny." it's all about "black and white" — not just the colour of the line when writing the line, but the black line on paper, in fact, produces a black-and-white division, black-to-white-to-white-to-black-to-black-to-black. The other is to pursue white change: insulated, tilted, curved, square。
