"Four Posts of Ancient Poems", five-color ink, 40 lines, 188 words. The content of the writing contains excerpts of four poems, the first two are Yu Xin's "Buxu Ci", the last two are Xie Lingyun's "Prince Jin Praise" and "Yanxia Husband Four or Five Young Men Praise", and some people think that the last two poems are pseudo-pretend. After the post, there are Ming Dynasty Fengfang, Dong Qichang Bawen. This post was once considered to be written by Xie Lingyun in the Northern Song Dynasty, and Dong Qichang in the Ming Dynasty identified it as a book written by Zhang Xu, but later generations also have a lot of controversy about it. Contemporary Yang Renkai has published a number of articles, arguing that the author of "Four Posts of Ancient Poems" is Zhang Xu in the Tang Dynasty. The original remains are now in the Liaoning Provincial Museum.
Zhang Xu can be said to be the pioneer of the first book style, and the "Four Posts of Ancient Poems" that he wrote is a classic, and it has also influenced almost all the ** calligraphers in later generations, and many of its expressions have become new breakthroughs in the history of cursive development.
The Four Posts of Ancient Poems uses the brushwork of the middle and side fronts. In order to connect the next stroke, the end of the last stroke is often drawn from one side to the next stroke.
The four posts of ancient poems are longitudinal, connecting the strokes of the upper and lower characters, weakening the legibility of a single word, and taking the word group as a unit, resulting in a continuous and surrounding group contrast.
In addition, "Four Posts of Ancient Poems" also attaches great importance to the contrast of sparse disparity. And according to the actual posture and posture changes to make corresponding adjustments to the structure of the word, which not only enhances the large opening and closing of the internal and external structure of the word, but also makes the line qi have ups and downs.
Zhang Xu** focuses more on the expression of feelings, and his writing speed is much higher than that of Imakusa. Most of the changes in the thickness of the lines are due to changes in the speed of writing.
In addition, Zhang Xu** relies on the coherence and pause of writing to adjust the sparseness of the chapter, and thus adjust the priority of the rhythm of the work. As the writing became sluggish and rapid, the ink color also changed in wet and dry shades.
For the copying and learning of ** books, first of all, to eliminate the obstacles to reading, you should do some reading homework in advance to avoid being at a loss when studying. Secondly, it is necessary to analyze and summarize the characteristics of the pen used in the copybook, so that the copybook is unified with the pen used in copying. Thirdly, it is necessary to strengthen the combination training of single rows and inter-rows. The main exercises are inter-line arrangement, adjustment of size and thickness, spatial distribution processing, and comparison of fast and slow rhythms. Finally, you can strengthen the pro-writing according to a certain feature of the original post and simulate the creation.
Different from the sharp and sharp dot painting in the small cursive "Book Preface", many dot paintings in the "Four Posts of Ancient Poems" are more round and thick, even the slender dot paintings are concise and solid, which requires that when studying, the pen should be round and indulgent, and the lines should be thick and full.
When studying, we should pay attention to the treatment of the sparse contrast of the space inside and outside the characters in the Four Posts of Ancient Poems, and link the exaggerated contrast of the glyphs with the coherent rhythm of the line.
* The writing speed is extremely fast, the knots are pitched and moved, unpredictable, the chapter emphasizes unity, and black and white are no longer isolated. The integration of time and space in writing is more close, the interweaving of movement and static, unrestrained and restrained, the sense of dynamism is stronger, and the expression of emotions is more direct. It is the highest level of calligraphy rhythm and rhyme, which requires the writer not only to have good technical practice, but also to integrate his own emotional awareness, artistic accomplishment and aesthetic knowledge into it when writing.