Tang Dynasty Regular Script Structure Practice Book

Author: Chief Editor: Liu Puqing et al.
Publisher:
Publishing Date: 2002-05-10
Features: Excerpt: The Structure and Learning Methods of Regular Script
I. The Meaning of Major Terms in Regular Script
To learn regular script, one must first understand the meanings of several key terms before grasping the art of calligraphy. The terms "brushwork," "brush force," and "brush technique" all refer to the skillful use of a brush to write well-structured, aesthetically pleasing regular script, emphasizing the techniques required for various strokes, structures, and formations. They also describe the methods of the brush's vertical or horizontal movements (i.e., lifting, pressing,,, and twisting) on paper, ensuring that the strokes are both round and square, allowing for the creation of neat and beautiful regular script at will.
In the Ming Dynasty, Zhao Yiguang said: "What is brushwork? It is the rising and falling of the brush with intention." In the Song Dynasty, Jiang Kui remarked: "When the brush is upright, the tip is hidden; when it leans, the tip protrudes. With each rise and fall, each dimming and brightening, the magic emerges." This illustrates that brushwork first seeks precision, then refinement—once mastered, beauty follows.
The terms "structure," "composition," and "form" also have similar meanings, referring to the organizational form of each character and the methods for beautifying it. They explain the principles of calligraphy developed by and artistic pattern construction, essential for writing well-structured and beautiful regular script. Zhao Yiguang stated: "What is composition? It is the balance of density and spacing, and the arrangement of strokes." In the Han Dynasty, Cai Yong said: "When writing, the upper part should complement the lower, and the lower should support the upper, ensuring that the forms reflect each other without conflicting." In the Ming Dynasty, Li Chun noted: "The forms of characters vary in size, density, thickness, and length, while their strokes vary in inclination, extension, and transformation. Though vast and intricate, the principles of composition can be grasped. All strokes and dots fall under structure. The corresponding and harmonious relationships should be maintained, avoiding any discord or inconsistency. Though characters may differ in countless ways, their composition remains within these methods. The beauty of composition lies in adhering to the principles of pattern construction when writing regular script."
The terms "form," "style," "character," and "spirit" also share the same meaning, describing how the structure of regular script, based on aesthetic principles, further develops into unique character and style. For example, the brushwork and structural methods of Tang Dynasty calligraphers such as Ou Yangxun, Yan Zhenqing, and Liu Gongquan are fundamentally similar, but their styles vary—some are square or round, thick or thin, strong or delicate, robust or refined, majestic or ethereal. Zhao Yiguang said: "What is form? It is the regulation and enhancement of structure, unconstrained by rigid rules." In the Ming Dynasty, Xiang Mu remarked: "To write, one must first relax and let go of preconceptions, achieving what one desires—only then can one speak of spirit. If the brushwork remains unchanged, one cannot speak of spirit."
II. Learning Methods for Regular Script Structure
How can one write well-structured and beautiful regular script? We know that Chinese characters originate primarily from natural forms, hence their designation as "pictographic" characters. Each character resembles a picture, especially a decorative one, which is why have often said that "characters" and "paintings" share the same roots. To master well-structured and beautiful regular script, it is best to emulate the learning methods of painting: first, practice the basic techniques of using a brush to write various strokes; once the forms of these strokes are sufficiently similar through imitation, proceed to learn the structure and writing techniques of regular script.
The structure of each character in the Tang-style regular script interframe structure practice book has been refined over centuries by countless calligraphers. When learning the structure of regular script, we must study how to arrange it beautifully, creating a sense of neatness and elegance. Therefore, before writing, one must first visualize the ideal form of the character in one's mind.
In the Jin Dynasty, Wang Xizhi said: "Structure is strategy." He also noted: "The method of calligraphy begins with grinding ink, concentrating the mind, and imagining the character before writing." This emphasizes that learning calligraphy should treat structure as a plan. Otherwise, hasty, unguided writing will never produce beautiful regular script.
Learning the structure of regular script should proceed step by step, with each stage focusing on specific aspects:
1. Begin by learning the strokes, radicals, and components of each character, striving for balance and stability.
2. Next, study the relationships between strokes, aiming for symmetry and equilibrium.
3. Then, focus on the spacing between strokes, ensuring even density and harmonious thickness.
4. Learn the continuity and variation between strokes and structure.
5. Study the overall form of each character, striving for proportion, harmony, naturalness, and vitality.
6. Finally, emphasize the coherence between characters and lines, ensuring unified style and rhythm.
By repeatedly practicing and studying, one will achieve proficiency and be able to write well-structured and beautiful regular script.
Based on modern principles of artistic pattern construction and referencing the calligraphic theories of famous, this book presents twelve principles for beautifying regular script: uniformity, stability, symmetry, balance, even distribution, contrast, variation, repetition, proportion, naturalness, vitality, and stylistic unity. Each principle is illustrated with eight examples of calligraphic techniques and standard regular script characters, demonstrating the methods of beautification.
These twelve principles are essential for writing well-structured and beautiful regular script. The method of learning regular script involves first studying and mastering the theoretical knowledge of beautification, which serves as a guide for writing practice. However, theoretical knowledge alone is insufficient without concrete methods and practical experience. Without these, the hand and brush will not respond. Only through effort and perseverance can one achieve proficiency and write beautifully.
III. The Core of Learning Regular Script
Whether one can write well-structured and beautiful regular script depends largely on their mastery of brushwork techniques and the principles of structural composition. The quality and beauty of the script are entirely determined by the principles and methods of each character's composition. Structure and brushwork are closely linked, much like strategy and tactics. Structure must consider the whole, creating favorable conditions for brushwork, while brushwork must obey structure, working in harmony.
Therefore, the key to mastering regular script lies in correctly understanding and applying the principles of structural beautification while skillfully mastering brushwork techniques. By repeatedly practicing and achieving proficiency, one will certainly be able to write well-structured and beautiful regular script.
Postscript:
I. The Relationship Between Structure and Brushwork
Structure and brushwork are closely connected. Zhao Yiguang in Cold Mountain Brush Talk said: "Brushwork is like a tree, structure like a forest; brushwork is the body, structure the function; brushwork is the appearance, structure the demeanor; brushwork is the emotion, structure the character; brushwork is the skin, structure the bones; brushwork is the limbs, structure the entire form." However, they should not be confused. In learning, one must distinguish the primary and secondary aspects. In the Yuan Dynasty, Zhao Mengfu said: "Calligraphy prioritizes brushwork, but structure also requires effort. Structure is passed down through the ages, while brushwork remains unchanged through the millennia." Since the structure and composition of each character, line, and entire piece depend on brushwork techniques, ancient calligraphers placed great emphasis on brushwork. They regarded brushwork as limbs, organs, flesh, and bones, while structure and composition were likened to clothing, appearance, and style. Thus, structure and composition are variable, while brushwork is constant. For example, the structures and compositions of the styles of Ou, Yan, Liu, and Zhao vary in roundness, thickness, rigidity, style, and spirit, but their brushwork remains fundamentally similar.
II. The Integration of Structural Principles and Writing Methods
Well-structured and beautiful regular script is composed of four elements: brushwork, structure, style, and brush technique. How do these elements combine? What principles and techniques are needed to write such script? The compilers believe that well-structured and beautiful regular script must adhere to the twelve principles mentioned above. If a character lacks uniformity, stability, symmetry, balance, even distribution, contrast, variation, repetition, proportion, naturalness, vitality, or stylistic unity, it cannot be considered perfect. However, missing one or two principles may still result in well-structured but imperfect script. Missing three or four, however, would render it unworthy of the name.
Therefore, when learning regular script, one must diligently study these twelve principles and meticulously imitate the specific writing techniques for each. By achieving proficiency, one can write well-structured and beautiful characters.
To ensure the entire piece is well-structured and beautiful, further study of the principle of stylistic unity is necessary. One must particularly master the specific manifestations of this principle, striving to write each character with consistent style, harmony, mutual regard, coherence, overall balance, proportion, and unified spirit. By practicing with care and intention, each character and the entire piece will achieve true perfection in structure and beauty.
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