The difference between regular script and line script lies in the coherence between dot paintings, and if the regular script is interspersed with the use of the brushstrokes of the line script, the character gesture will often appear more vivid and lively. Although "Jiucheng Palace Liquan Ming" is a tablet extension of the law, we can also feel the echo of hope between the dot paintings from the posture of its character knot.
As shown in the picture, the words "zhi", "heart" and "to" are written, and the strokes are broken and connected, and the dot painting is a unified whole.
An important reason why the structure of the characters in the Jiucheng Palace Liquan Ming appears slender is because of the use of the pen inside.
As shown in the figure, the long vertical of the words "leisure" and "figure", the vertical of the word "classic", the horizontal fold of the word "east", and the line form are bent to the word, so that the whole word appears slender and long visually.
There are many cases where the words of the upper and lower structures are overlaid, and the listing of the flat plate is easy to appear rigid and stiff. In order to make the structure more vivid and postureous, the upper part of the "Jiucheng Palace Liquan Ming" is inclined to the left, and the lower part is attached to the posture of the upper part, so that the character achieves a certain posture without losing the fairness.
As shown in the figure, the words "dang", "cloud" and "treasure", this kind of strange and positive treatment often appears in European style.
Filling in the gaps is one way to adjust the sparse relationship. In "Jiucheng Palace Liquan Ming", there are often some dangerous word gestures, and large blanks appear. Filling in the gaps can bring together what would otherwise seem to be crooked, keeping it stable and square.
As shown in the figure, the upper part of the word "even" is flat and stable, and two of them are vertically crossed and horizontal down to fill the blank in the lower part, so that the whole word is sparse and dense up and down, and the spatial distribution is uniform. The "minister" part of the word "Lin" is real and virtual, and the left side is deliberately elongated to fill the blank in the lower left corner, and the "mouth" of the right half is filled into the blank space, so that the whole word is neat and not congested.
The purpose of avoiding complementarity is to make the internal space distribution of the whole word smooth and dense, which is similar to filling in the blanks.
As shown in the figure, the "fire" part above the word "Yan" is skimmed and converged, and the lower part is open and sparse. At the same time, in some characters with many strokes, "Jiucheng Gong Liquan Ming" also adopts the method of deleting and simplifying to reconcile the density of the structure. As shown in the figure, the upper part of "De" and "Heart" omitted a horizontal, and the lower left part is slightly oblique vertically outward, making room for the bottom of the word "Heart". The word "flow" omits a point in the upper right part, so that the whole character remains square and neat.
As the saying goes: ""Nine Cheng Palace", "Nine Cheng Palace" ten pro, nine unsuccessful", indicating that it is not easy to study this post. It can be inferred that the main reason why the "Jiucheng Palace Liquan Inscription" cannot be written well is the stereotyped description of its glyphs and the deliberate copying of the effect of dot painting inscriptions. It is an effective method to study by analogy with the ink of the book such as "Dream Laying Post".
As a representative work of the early Tang Dynasty Kaishu, "Jiucheng Palace Liquan Ming" has both the seal and the style of the Wei and Jin dynasties in terms of style, and inherits the pen style of the inscription of the Six Dynasties, so in the practice, if you can refer to the "Zhang Menglong Stele", "Longmen Twelve Products", "Zhang Xuan's Epitaph" and so on to learn together, it will be easier to understand the origin of the style of the calligraphy, and will not be simply confused by the dot painting form on its surface.
When studying "Jiucheng Gong Liquan Ming", you can analyze and learn its structure in combination with Ouyang Xun's "Thirty-six Methods of Knotting". Sun Guoting once said in his "Book Pedigree": "Accumulating its dot painting is becoming its character", and grasping the characteristics of the pen is an important way to grasp the structure. Equally mastering the basic structural rules of the copy can make it easier for beginners to learn.
Jiucheng Gong Liquan Ming is rich in pen and structure changes, and care should be taken not to generalize and exaggerate one or several characteristics to the whole book of calligraphy. For example, when learning the characteristics of its pen, we should also pay attention to the circle in its pen, and find the texture of roundness and warmth from Fangjun's solemnity. A careful appreciation of this subtle difference enables us to better grasp the essence of the character of the calligraphy.