"The Holy Order of the Wild Goose Pagoda" has both smooth and coherent brushwork, as well as quaint and simple brushwork.
As shown in the figure, the writing of the words "morning", "calendar", "in", and "cloth" is long and skimming, and the front is put into the paper, and the pen has the tendency to whirl, like the pen of the line of the book, and the brush is connected to the next dot painting, and the momentum is through. As shown in the figure, the writing of the words "Jiao", "Ding", "Yong" and "Zhi" is full of twists and turns, full of fronts, and the direction is mostly horizontal or downward, which looks heavy and elegant. As shown in the figure, the writing of the "month", "interpretation", "have", "dian" word hook, also has the legacy of the six dynasties, in the pen is ready to go, after adjusting the pen edge, the elasticity of the brush quickly sends the pen to the end of the dot painting, the shape is changeable, simple and full.
The Holy Order of the Wild Goose Pagoda is rich in variations. As shown in the figure, the turning of the words "θΏ₯", "Zhou", "And" and "Day" is divided into square and round. Square fold, the pen is square and round, it must be powerful, and the circle turns homeopathic to change the front, strong and relaxed and natural. In addition, the continuity of the gestures is one of the highlights of the "Sacred Order of the Wild Goose Pagoda", which is not only very obvious in the connection between the apostrophe and the horizontal, but also in the way of writing. As shown in the figure, the words "photograph", "present", "environment", and "Zhen" are often mentioned in accordance with the gestures of the previous point of painting, and the pen is quickly lifted after the pen is adjusted, and the form is such as the extension of the pick, and the pen is definitely powerful.
The structure of the Sacred Order of the Wild Goose Pagoda is flattened, and horizontal dot painting plays an important role in the structure. Their posture and starting method are different, some are 45 degree angle cut, and as shown in the figure, the word "ten" is cut at a right angle, and the horizontal dot painting is different due to the different gestures of the Tibetan front and the open front, and the pitching posture of the ** strip has formed different changes. As for the rhythm of a single dot painting, it is very obvious in the "Sacred Order of the Wild Goose Pagoda", such as the contrast between the word "Yue" and other dot paintings, the contrast between the left half of the word "extinguish" and the hook, and the contrast between the apostrophe of the word "Ao" and other dot paintings.
The Sacred Order of the Wild Goose Pagoda stretches freely, and adjusts the monotonous way of using the brush through the straightening of the lines. As shown in the figure, the horizontal of the word "big" is treated with a straight line, the upper part of the apostrophe is treated with a straight line, the lower part is treated with an arc, and the strokes are treated with an arc. In this way, because there are two straight lines that play a dominant role, the whole character has a square feeling. Another example is the word "Zhen", the upper three horizontal lines are composed of anti-arcs, and the strokes that should have arcs are written very straight. The horizontal reversal, the bending of the apostrophe, and the straightness of the fold form a curved and straight contrast, which increases the richness and contrast within a single word.
The biggest feature of the structure of the Sacred Order of the Wild Goose Pagoda is the flat square, because the horizontal lines in the Chu body have the tendency to stretch outward, which is different from the looping trend of the European body, which is an important turning point from the early Tang Kaishu represented by Ouyang Xun to the Kaishu of the Prosperous Tang Dynasty. It is precisely because of the strong accommodating nature of this structure that it gave birth to the formation of other calligraphers' styles in the Tang Dynasty.
The structure of the Sacred Order of the Wild Goose Pagoda is straightforward, but because the pen contains the meaning of calligraphy, the internal connection between the dot paintings is strengthened, and the isolated dot paintings become interconnected and full of vitality. These seemingly insignificant gestures not only bring certain changes to the structure, but also break the trend of fairness in terms of character gestures, and play a role in filling the space where the space is too sparse.
The structure of the characters in the Sacred Order of the Wild Goose Pagoda is exaggerated, and the space in the characters produces a contrast between fiction and reality according to the exaggeration of a certain point of painting, which makes the originally plain regular script structure have a strong artistic effect.
As shown in the figure of the word "earth", the lower left part of the mention of the lower left corner of the word is full, and the horizontal of the word "also" is inserted into the inside of the "soil", so that the left half is virtual but real, and it is not separated. At the same time, the vertical hook stretches hard to the right. Another example is the word "preface", through the last vertical hook to force the whole glyph to the right line as much as possible, the middle palace is empty, so that the structure of the whole word appears graceful and generous.
The Holy Order of the Wild Goose Pagoda is Chu Suiliang's most representative work, because the carving is excellent and the preservation is complete, so the original appearance of the dot painting details is relatively clear. In practice, the grasp of details becomes the most important task. It can be combined with actual presence and intentional presence, and the actual presence is aimed at being accurate and in place.
If you only see the fineness of the dot painting when you study the "Holy Order of the Wild Goose Pagoda", it is easy to blindly pick up the pen, resulting in the dot painting lines not being full enough and lacking elasticity, and the lines written will be skinny. Attention should be paid to the use of auxiliaries when writing, especially when writing dots and hanging verticals.
When studying the "Holy Order of the Wild Goose Pagoda", we should avoid stylization, pay attention to the richness and liveliness of its brushwork, and grasp the changes in its lines and the distinction between priority and priority. At the same time, the contrast between the strong thickness of the word and the retraction should not be ignored because of the small size of the word.
You can study the Yin Fu Jing for a period of time, and then turn back to study the Holy Order of the Wild Goose Pagoda.
Pay attention to the characteristics of "The Holy Order of the Wild Goose Pagoda" that is soft and rigid. When studying, it is necessary to find the friction between the brush and the paper, and move forward with the astringent pen. If you draw a gourd and write out the line type and glyph in the same way, the line will have no bone strength. In addition, problems such as too many arcs, too many round pens, and not being strong enough in the middle of the line should be avoided.