1, Tang Kai's greatest feature is that he pays attention to statutes. We often say that "Tang people respect the law" mainly refers to. Respecting the law means respecting and attaching importance to laws and regulations and acting in strict accordance with the requirements of the law. The "statutes" here have two meanings: one refers to the artistic norms of brushwork, calligraphy and composition; Secondly, it refers to the aesthetic standards and methods of calligraphy.
2. Because of "respecting the law", Tang Kai himself established strict artistic norms. From this perspective, Tang Kai is a real "regular script"-an example and model for future generations to learn. Works by Ou Yangxun, Yu Shinan, Chu Suiliang, Yan Zhenqing and Liu Gongquan. Will always be used as a "calligraphy book" for future generations.
The difference between Tang Kai and Weibei
Tang Kai and Weibei belong to the regular script system.
Wei Bei was born in the Northern Wei Dynasty, and Tang Kai was born in the Tang Dynasty. Both are named after the period when they came into being. There is a progressive relationship between Weibei and Tang Kai.
Weibei is a calligraphy style gradually formed after Xianbei people entered the Central Plains, learned Chinese culture and used Chinese characters in their daily lives. The rest of the text is mainly in epitaphs, statues and stone carvings. Because the characters are carved on the stone, not the original font, there is a problem of secondary creation. The figures in Longmen Grottoes in Luoyang are the most typical, and a large number of epitaphs and stone carvings also have such characteristics.
Jun Fang's main style is simplicity and innocence. Its main feature is that the strokes are mostly Fang Bi and angular.
In the Tang Dynasty, calligraphers learned from Wei Bei, reorganized and created Wei Bei's brushwork and structure, and formed regular script with strict statutes, neat brushwork and dignified posture. In the use of pens, mainly round pens.
Comparing Tang Kai and Wei Bei, the biggest difference between them lies in the shape and modeling of strokes.
Tang Kai and Tang Poetry
Tang poetry and Tang Kai are a pair of wonderful works in ancient China literature and art, and Tang poetry has created brilliance in the history of China poetry. Together with pre-Qin prose, Han Fu, Southern and Northern Dynasties parallel prose, Song Ci, Yuan Qu and Ming and Qing novels, it became a symbol of literary prosperity in an era. There are nearly 50,000 poems in the whole Tang Dynasty, with more than 2,000 authors. Everyone comes forth in large numbers, and there are ten thousand kinds of Shen Feng. Li Han's elegant forest, Du Gongbu's gloomy, Xiang-yang Meng's elegant, Wang Youcheng's exquisite, Chu Guangxi's frank and sincere, Wang Changling's vivid voice and emotion, Gao Shi and Cen Can's solemn and stirring, and Li Qi and Chang Jian's extraordinary and free from vulgarity vividly reflected all aspects of society at that time, showing the beauty of life and spirit of the Tang people.
Compared with the Tang Dynasty, the regular script in the Tang Dynasty is a combination of the regular script in the Wei, Jin, Southern and Northern Dynasties, which has formed a style of solemn font, steady and dignified strokes, rigorous structure and strict statutes. In the early Tang Dynasty, Yu Shinan, Ou Yangxun, Chu Suiliang and Xue Qi were four great masters. In the late Tang Dynasty, there were Yan Zhenqing and Liu Gongquan. Their regular script is both inheritance and innovation. Ou Yangxun's "Jiuchenggong Liquan Ming" is quite vigorous and steep, with looming edges and corners; Yu Shinan's Confucius Temple Monument is fair, handsome and graceful. Chu Suiliang's Preface to the Great Wild Goose Pagoda is exquisite, elegant, thin and practical. Xue Ji's Xin Xing Shi Chan Bei is slim and graceful, graceful and healthy; Yan Zhenqing's Yan Monument and Yan Family Temple Monument are vigorous, simple and dignified; Liu Gongquan's mysterious pagoda monument and Shence Army monument are vigorous and rigorous. It's really unprecedented, and there will be no one after it.
Regular script in the Tang Dynasty, like the prosperity of the national situation in the Tang Dynasty, is really unprecedented. Calligraphy style is mature, and calligraphers come forth in large numbers. In terms of regular script, Yu Shinan, Ou Yangxun, Chu Suiliang in the early Tang Dynasty, Yan Zhenqing in the middle Tang Dynasty and Liu Gongquan in the late Tang Dynasty all regarded his regular script works as models of calligraphy.
I love Tang poetry, and I love Tang Kai. The spirit of reciting Tang poems is inspiring, and Tang Kai's mind is purified. It is refreshing to write Tang poems in Tang Kai's style and get to know the ancients. It is with my fascination with Tang poetry and Tang Kai that in the past year, I selected 80 quatrains from famous Tang people, and intend to write a book "Han Li and the North Monument", which will be published by China Peace Publishing House. Mr. Shi Shuqing, an 85-year-old famous scholar and cultural relic appraiser, wrote a poem with a postscript: "The Song of the Prosperous Age is here, and the quatrain in the volume is Tang Yin. Poetry and books are beautiful, and a word is really a thousand dollars. " This is not only an encouragement to the younger generation, but also a care for traditional culture. Today, we live in a peaceful and prosperous era with a high level of economic and cultural development. Inheriting and carrying forward China's excellent culture and arts such as Tang Poetry and Tang Kai requires our descendants from generation to generation to learn from each other's strong points, accumulate wealth and innovate, so that the cultural spirit of Tang Poetry and Tang Kai can be carried forward on the land of China, endlessly!
What are the characteristics of Tang Kai? In the history of calligraphy in China, the Tang Dynasty created two peaks, one was regular script and the other was cursive script. Regular script is what we often call the Tang Dynasty. After the Tang Dynasty, regular script declined, especially in contemporary times. Throughout the contemporary regular script, the works using regular script in Tang Dynasty occupy a relatively small share in the exhibition. In recent years, due to the guidance of China Calligraphy Association, the proportion of regular script in Tang Dynasty is relatively high. For example, in the 12th National Exhibition, the number of exhibits increased to more than 1000, and the proportion of regular script increased, so the number of Tang scripts also increased. In previous national exhibitions, the number of works exhibited was controlled at more than 400, and the number of works by Tang Kai was very small. In contrast, at least half of the regular script works in the 12th National Exhibition could not enter the exhibition. Therefore, it is suspected that the regular script works were pieced together when they entered the exhibition, including other characters. In addition, last year, the National Regular Script Exhibition of China Calligraphy Annual Exhibition was held in Xin 'an, Luoyang. Even in this special exhibition of regular script, the proportion of works with Tang Kai as the theme is not high. In recent years, people often put forward slogans such as "Activating Tang Kai", which all reflect the current predicament of Tang Kai.
Here, I will talk about my views on five issues of Tang Kai. These five questions are: the formation, process, skills, thoughts and values of Tang Kai.
First, the formation of Tang Kai.
Tang Kai is a regular script from Sui Dynasty. Regular script in early Tang Dynasty is the continuation of regular script in Sui Dynasty, which is a blend of northern and southern calligraphy styles. Therefore, it is necessary to review the formation of regular script, or consider Tang Kai in the development of regular script, so as to deepen our understanding of Tang Kai.
The evolution of calligraphy is driven by constant convenient and quick writing. The practicality of calligraphy has two directions: first, it is constantly standardized; The second is constant convenience. The so-called regularity is to push a book to maturity; The so-called convenience means writing quickly and carelessly. With the appearance of Chinese characters, grass is everywhere. From Oracle Bone Inscriptions, bronze inscriptions to Xiao Zhuan, seal script is maturing in constant standardization. On the other hand, the rapid writing of seal script formed the early official script, which appeared earlier than Xiao seal script. After the maturity of Xiao Zhuan, it gradually declined in the Western Han Dynasty, and the inscription remained. With the constant standardization of early official script, official script reached a mature stage in the Eastern Han Dynasty. The early official script continued to be written quickly until the early cursive script with official meaning appeared in the Western Han Dynasty, which can be seen in the unearthed bamboo slips of the Western Han Dynasty. After the maturity of the Eastern Han Dynasty, the official script gradually declined, and the script developed along another road, that is, the cursive script was constantly standardized. The middle and late Eastern Han Dynasty was actually an important period in which official script, cursive script, running script and regular script supported each other. In a large number of folk daily writing, these kinds of books support each other and develop each other. In many unearthed documents, we can see the face of early regular script.
To examine the emergence of the style of writing is not to see whether it is like this style of writing, but whether it has the basic brushwork of this style of writing. For example, the early official script is not like a mature official script in form, but it has the basic brushwork of official script or the rules of official script, although it is not a complete official script at this time. The same is true of early regular script. Early regular script was a bit like running script, official script and some cursive script, but the brushwork of regular script played a supporting role. Zhong You only further purified, processed and sorted out, forming its unique regular script characteristics. He aggravated the composition of regular script, which is actually a mixture.
There are cursive brushwork and official script in contemporary regular script, which is not unique to contemporary calligraphers. If traced back to the source, regular script is like this. Zhong You's regular script is a mixture of various languages. By Wang Xizhi's regular script, the tail of official script was removed, and the structure was lengthened, and the sense of rhythm such as lifting up and pressing down was also enriched, but some cursive brushstrokes were retained, and some strokes were related, forming the vitality and changes of Wang Xizhi's regular script. If Wang Xizhi's regular script is plain, it is obviously impossible.
In the constant regularization of regular script, regular script and official script alternated in the early stage, and then gradually evolved, and the brushwork of official script changed from changeable to less, from less to nothing. Strictly speaking, some strokes in Ou Yangxun's regular script in the early Tang Dynasty still retained some brushwork of official script, especially sketching, but in Liu Gongquan's place, its regular script has no official script meaning. Therefore, the process of regular script is the process of gradually reducing official script.
There are cliff, stele, epitaph, statue and other forms in Wei Bei, and different forms point to different pens. For example, cliff stone carvings are mostly pens for seal script, which is easy to show great weather; Epitaph font is very small, there are few words such as precipice, and there are few round things. During the Wei, Jin, Southern and Northern Dynasties, there were great differences in the styles of regular script between the North and the South. With the continuous blending of North-South styles and the further integration of North-South styles, the characteristics of regular script such as Longzang Temple Monument appeared, which basically possessed the style characteristics of regular script in the early Tang Dynasty. Of course, Zhang Menglong tablet is also a relatively mature regular script. From Zhangmenglong Monument to Longzang Temple Monument, there is an inevitable connection between them. Various styles and features formed in the dynamic development and evolution of regular script gradually formed the earliest appearance of Tang Kai.
Second, the course of Tang Kai
In a word, the development of Tang Kai has gone through three processes: from being thin and hard to being fat, and then back to being thin and hard. In the early Tang Dynasty, regular script advocated thinness and hardness, which originated from the aesthetics of regular script in Sui Dynasty. The regular script of the "four schools in the early Tang Dynasty" is mainly thin and hard. Yan Zhenqing's regular script was fat in the prosperous Tang Dynasty, but it was thin and hard in Liu Gongquan. Liu Kai's thinness is not a simple regression, but another embodiment of aesthetics.
Some scholars believe that Yan Kai's obesity and strong posture are from a practical point of view. Because thin and hard strokes are easy to be weathered, the lines will not be very clear after weathering, and the thick lines will be less affected by external weathering. This view temporarily put aside the atmosphere of the prosperous Tang Dynasty and based on the ontology of calligraphy. Of course, the emergence of Yan Kai is not simply from the perspective of practice, but is caused by multiple factors. Li Yong's development of "Two Kings" running script also brought about changes in regular script. Learn from Tang Kai and make this change clear. When learning regular script in the early Tang Dynasty, the lines must be refined, because it has no redundant strokes and is a relatively refined and clean line. Of course, its structure is getting longer and longer. It is easy for us to write Tang Kai in a rigid or standardized way, so we must explore the ever-changing elements in regular script.
Whether it is social fashion, weathering or its own reasons, whatever the reason, the appearance of Yan Kai pushed the regular script in Tang Dynasty to another peak-the brushwork was richer, with some strokes, which were not found in the regular script in the early Tang Dynasty, reflecting another ethos and bringing new thoughts to the contemporary regular script creation. This kind of weather is consistent with contemporary times, which is also the reason why Yan Zhenqing regular script is exhibited relatively more in contemporary times. Therefore, Yan Zhenqing's regular script can be further studied. Last year, an early epitaph of Yan Zhenqing's book was unearthed, which shows that its early regular script style is thin and hard, not strong at first.
If we go to "Thousand Tang Zhi Zhai", we can see more than 1000 epitaphs of the Tang Dynasty, showing very rich characteristics, but this does not affect the three courses in Tang Kai that I just mentioned. They are rich individuals in these three courses, and they also enrich our understanding of Tang Kai.
Learning from Tang Kai is not limited to these familiar regular script models. We should make full use of the new literature resources found in contemporary archaeology, which will bring us a new understanding. I have mentioned this point on many occasions and in some articles, and I have said many times that where the "new" of innovation comes from, new literature resources are one of them. Out of nothing, or out of nothing. This "nothing" is relative and we have never seen it before. After the new excavation, it means "you". There are new things born and new arrangements and combinations. After Tang Kai, can everyone write a new look? This is worthy of our in-depth thinking, but also a common problem in learning.
New resources must come into our sight. In learning, we should always pay attention to these new literature resources, which involves the choice of methods. Choice is more important than diligence. If you choose well, you will take a lot of detours. A clear understanding of Tang Kai's three courses also helps us to choose the right path when choosing the law. This year's "China Calligraphy Annual Exhibition National Regular Script Exhibition" exhibited a work that borrowed from Liu Gongquan's regular script. This work is a reservation of this style, and the quality of the work is another matter. However, such a variety has been preserved.
Why Liu Gongquan's regular script can't be learned well in contemporary times, or it can't reflect its value if he learns a lot, which is a topic before each of us. It would be great if Liu Gongquan's model regular script can be written into a work that conforms to the contemporary aesthetics, not only conforms to the characteristics of Liu Gongquan's regular script, but also can be accepted by the contemporary aesthetic system, rather than being over-artistically developed. Liu Gongquan's regular script is a case that it is difficult to do this. Such ups and downs, too many joints, affect the normal writing. If we can solve these problems that affect writing, we can make some attempts.
Can we borrow the structure or brushwork of Liu Gongquan's regular script to further transform it, or take out the core of Liu Gongquan's regular script, which doesn't necessarily look like it, but smells like it. My regular script is not based on the Tang script, so I haven't tried it. If a friend is interested in regular script in Tang Dynasty, I might as well try it. Perhaps with my personal spirituality, I can touch some sparks, which will test whether my knowledge can match this. Many people say that Tang Kai is not suitable for beginners, not because Tang Kai's model is not good, but because many people who study Tang Kai don't understand it, or don't understand it enough.
Third, Tang Kai's skills.
There are many problems in Tang Kai's technology.
The first is the brushwork. Tang Kai's brushwork composition is clear from beginning to end, which also reflects one aspect of Tang Kai's norms. In the early Tang Dynasty, Yan Kai and Liu Kai had different stippling forms, depending on what form Tang Kai's stippling started and ended. The middle running process is either the middle running or the side running, which is different from a legal post. Generally speaking, the center runs. Tang Kai has fewer side pens, and may bring some side pens from Yan Zhenqing's regular script, but other relatively thin and hard ones are basically medium pens. Of course, there are also some sidelights in the epitaphs of the Tang Dynasty. The difference between starting and closing a pen is the key to distinguish calligraphy styles. Learn to compare in learning, read carefully and see accurately. The brushwork forms are round and square. Fang Bi looks like a square; The so-called round pen just looks like a circle. The form of Tang Kai is not absolutely circular, but it is not square, and tends to be circular on the whole. In addition, there are hidden fronts and exposed fronts, which also show different characteristics in Tang Kai. Liu Gongquan has a lot of regular script, and many places are explicit; Relatively speaking, Yan Zhenqing's regular script is much more implicit, that is, there are many hidden fronts; In the early Tang dynasty, regular script was exposed and hidden, generally speaking, it was much exposed, such as Chu Suiliang's regular script. However, the exposed front needs to be considered. Writing should be reversed, not straightforward, and it needs some small moves, that is, the reverse process. With regard to Tang Kai's brushwork, we should combine center and winger, Fang Bi and round pen, hidden and obvious, reversal and so on. And use it flexibly, not too stylized and artistic.
The second is the pen gesture. The pen gesture is very important. Writing should have posture, both structure and lines. For example, horizontally, showing a horizontal trend; The posture of the structure, that is, the situation of echoing up and down. If there is a situation, it is not dull, but lively. The key is whether you can write this situation. There are many situations in cursive script that need to be found in regular script, such as comparing relationships and handling contradictions. The size, thickness and length of Tang Kai's structure are all contradictory relations that need to be faced, which can solve the potential problem while coordinating contradictions.
The third is the ink method. Ink painting is a very important aspect of contemporary calligraphy aesthetics. When we look at Tang Kai, the color of ink has not changed, which means that Tang Kai has no requirements for ink painting. However, contemporary people attach great importance to the method of using ink when writing Tang Kai, even in small letters. Yan Zhenqing and Chu Suiliang use more ink in regular script. The use of ink should reflect this change. If the ink method is applied to the extreme, it will not be scattered, the quality of lines will be maintained, and the stability of the work will also be maintained, which can add points to the work.
The fourth is the structure. How to write a meaningful structure is related to aesthetics. In important contemporary exhibitions, few people write Tang Kai beautifully, but most of them are rather clumsy. Borrowing Yan Zhenqing's regular script works, for example, is for the pursuit of clumsiness. Analysis of the current regular script creation shows that many structures are very large, with the upper part accounting for more and the lower part accounting for less. This is the present aesthetic preference. No matter what method is used, it is to pursue a taste. Every word is not arranged neatly, so it must be clear and have an echo relationship with the structure. In this way, the structure of Tang Kai can be reformed, and some reforms that do not violate the basic rules of Tang Kai may bring unexpected results. We can refer to the epitaph of the Tang Dynasty and even the epitaph of the Northern Wei Dynasty to find some changes from the ink. The regular script written looks like Tang Kai, but it is not very similar, giving people a sense of freshness. The ancients summarized Tang Kai's "Thirty-six Strategies" and other writing methods, but they should not copy them. We should break this highly regular thing and establish new rules, which is also the significance of writing about Tang Kai.
The fifth is composition. Most of the rules and regulations in Tang Kai are neatly arranged. We need to see what the original expansion or the original monument looks like, each one is different. We should experience the application of rules and regulations from the initial expansion and change some other rules and regulations from it. Regarding the composition of Tang Kai, one is that it is regularly arranged vertically and horizontally, the other is vertically and horizontally orderly, and the other is vertically and horizontally disordered. In addition, there is vertical inspection. At present, in the exhibition, it is common to see the arrangement of regular script in vertical order and horizontal disorder, or to use Yan Zhenqing regular script. Many regular scripts in Yan Kai are vertical and orderly, horizontal and disorderly, not one by one, so that they will not be bound to play, the size is appropriate, let nature take its course, and it is easier to reflect the artistry of things with regular regular regular scripts.
To overcome rigidity, we can break away from convention, or we can use some changes in pen and ink style, posture and various contradictions to deal with it. Writing Tang Kai in cursive style will bring many new things. Of course, if this method is not very skilled, it should also be arranged neatly, and pay attention to the changes in the order of individual words. This point in the contemporary regular script, take Ouyang Tong's do very well. Why are calligraphers in Ouyang Tong popular at present? I think it's because its words have variable genes, so we should think about why people who get French from Ouyang Tong do this. Can we make some changes on the basis of Ou Yangxun's regular script? You can try to explore it.
Fourth, the thinking of contemporary Tang Kai.
Tang Kai shows signs of decline in contemporary times, or it is not easily accepted by exhibitions, which are reflected in national exhibitions. Of course, with the changes in the evaluation mechanism in recent years, the share of regular script has been artificially increased, which seems to be more important than before. However, looking back at the development of contemporary calligraphy, from 1980s to 1990s to more than ten years ago, it was basically allowed to develop, and the proportion of regular script in the exhibition was not high, and the works in the exhibition were limited to Wei Bei and lower case, with few Tang scripts. Not counting the 12th National Exhibition, none of Liu Gongquan's regular script works have been exhibited in national exhibitions, and few people have taken Ou Yangxun's regular script works. Only Yan Zhenqing's regular script works have won prizes. Not because Tang Kai is not good, but because it doesn't conform to the contemporary aesthetics.
As calligraphers, in fact, some elements contained in Tang Kai have not been fully excavated, which is our own problem. Mr Chen Zhenlian once said that Weibei is artistic. Although he didn't directly say that Tang Kai was artistic, he reminded us how to treat it artistically when studying tradition. The so-called artistic treatment is to integrate personal temperament into it. It is difficult to deal with ancient works if there is less room for development; If there is more space, it will be easy. For example, the North Monument is not very rigorous and can be treated artistically; And Tang Kai, so standardized and mature, leaves us less space.
Just like the Preface to the Lanting Pavilion, almost no contemporary exhibition works are directly copied from the Preface to the Lanting Pavilion. It's not that Preface to Lanting is not good, but that it is too mature and leaves us too little space. Tang Kai is also facing the same problem. In this case, can you do some artistic treatment in Tang Kai? At present, the artistic treatment of Yan Zhenqing, Chu Suiliang, Ouyang Tong's regular script, Tang Dynasty classics and epitaphs is relatively successful, while others are not. This also leaves us many opportunities for thinking.
Besides, it is difficult to change Tang Kai's cursive style. Cursive script is one of the characteristics of contemporary calligraphy. There are seal script, official script, northern tablet and small script, but except Chu Suiliang, other Tang scripts are more rigorous. A few years ago, netizens joked that none of the members of the Regular Script Committee of the China Book Association could write regular scripts, and they just observed the contemporary regular script creation with the requirements of Tang's brushwork. From this perspective, then those people can really be regarded as unable to write regular script, and this understanding is actually based on Tang Kai. Therefore, in order to be comprehensive in aesthetics, we must make a comprehensive judgment and analysis of Tang Kai in the contemporary context. In fact, Tang Kai is only a branch of contemporary regular script creation, but not all of it.
Tang Kai's cursive script embodies the freehand brushwork of calligraphy. Freehand brushwork conforms to China traditional culture, and the core of China traditional culture is freehand brushwork, not realism. I talked about "the writing nature of calligraphy" in previous articles, and proposed that the writing nature embodies the essence of calligraphy, the freehand brushwork of calligraphy and the vitality of calligraphy. "freehand brushwork" was first put forward by Wang Xizhi, but there is no clear definition, which expresses the meaning and interest of calligraphy; Song people are also interested in "meaning". In the final analysis, calligraphy should have temperament. Why did the ancients often mention "Yi"? In fact, it means that "Yi" is the essence of calligraphy. In other words, calligraphy should be interesting and interesting. Whether Tang Kai can rely on freehand brushwork, but not artistic and decorative, otherwise Tang Kai will be written to death, and there is no way out for contemporary Tang Kai's creation.
We should change and get inspiration from other books. Yan Zhenqing's regular script can bring us some thoughts, such as the strokes of seal script and the application of seal script pen in the creation of regular script. Some people also ask why some regular scripts in Yan Zhenqing also have decorative strokes. That's because in the Tang Dynasty, when calligraphers wrote big characters with small pens, such strokes appeared, and after modification, they became artistic. Some special structures are related to the tools and writing state at that time. If you write Yan Zhenqing's regular script with Changfeng wool, you may not be able to express it well. We should learn to restore, not only to the state of ink, but also to tools and materials such as pen, ink and paper. Only by restoring these to the conditions at that time can we get in touch with the truth.
Verb (abbreviation for verb) The value of Tang Kai.
The first is traditional values. From the big cultural background, most people who study calligraphy at present prefer Tang Kai, including primary and secondary school students' calligraphy classes and extracurricular calligraphy training classes, as well as many elderly people and calligraphy lovers, not only from China, but also many foreign friends. Therefore, many people write Tang Kai, the main purpose is to write Chinese characters well, hoping to write dignified and beautiful. In this sense, this kind of behavior itself is inheriting and spreading China culture; To some extent, Tang Kai may mean more. This is an important phenomenon in contemporary culture.
Primary school students regard Tang Kai as the preferred mode, which is recognized by parents, teachers and society. If you write cursive or irregular calligraphy, it may not work, because these have not entered the category of mass aesthetics or the category of teaching system. From this perspective, we can see the traditional value and normative significance of Tang Kai. Besides the "two kings", the calligraphy tradition we often talk about is Tang Kai, which is very common.
The second is the value of the foundation. Most calligraphers have the experience that calligraphy started in Tang Kai and then entered other calligraphy styles, which is an important foundation and support for learning calligraphy. This foundation and support is more about the understanding of pen and ink, and the basic understanding of the structure of Chinese characters has also been discussed in ancient times. In fact, there were many running scripts in the Tang Dynasty. For example, there are running scripts and running scripts in Ou Yangxun. In recent years, there are more and more running scripts in Ou Yangxun, not to mention those in Yan Zhenqing. I used to win a prize for writing "Sacrificing My Nephew".
These can be directly transferred from regular script to running script. Teacher Huang Yun also talked about how to transfer regular script to running script. The brushwork of Jin people can be used to transition to running script. For example, Zhiyong's regular script can be directly changed to a book. There are both regular script and running script, so it is no problem to input running script directly, but it is more difficult to input running script directly from Liu Gongquan regular script. Regular script plays an auxiliary role in learning other calligraphy styles and further deepening, such as the support of pen and ink, structure and the basic understanding of calligraphy. This was good before we entered personalization, and it also standardized the calligraphy behavior.
The value of these aspects is undeniable. Some people's handwriting is too arbitrary and irrelevant. Standardized training through Tang Kai is beneficial to calligraphy learning. Calligraphy should be within a certain range, not boundless, and it is possible to play it at will within the prescribed range. Tang Kai is of great significance to calligraphy learners.
The third is value mining. Mining will bring us a lot of subjective initiative. The difficulties in Tang Kai make it difficult for us to explore these resources. If we have this ability, writing will be easy. As I said before, many of Tang Kai's works have not been well explored in contemporary times. For example, whether the brushwork and structure close to the artistic tendency can tap its potential flexible elements, that is, whether it can pull away the things close to the artistic tendency and look at the real things inside. Some structures have poor variability. Can you refer to the flexibility of other structures? Flexibility is an important spirit of China traditional culture, and calligraphy also needs flexibility.
For example, some lines and structures of Ou Yangxun's regular script are flexible, depending on what kind of aesthetics is used to express them. If you look carefully, you can see some of its flavors, and it is more valuable to enlarge them. The understanding of Tang Kai still needs us to dig, sort out and think. In fact, many things still make sense. We should mobilize our potential to learn more about Tang Kai. To this end, I deliberately took out Tang Kai's model and read it carefully for a long time. After changing my mind, I found that it was different from my previous understanding, and I felt that these models were very flexible and lively. So with the accumulation of their own knowledge, there will be new discoveries.