New Edition of Running Script Composition -- Central Hall, Square, Horizontal Scroll

Author: Yang Zaichun
Publisher:
Publish Date: 2005-11-07
Features: Regarding the issue of calligraphic composition, I would like to share three more opinions:
First, Huang Xixian of the Song Dynasty wrote in On Learning Calligraphy: "In the form of a character, slow is inferior to quick, open is inferior to dense, slanted is inferior to upright, turbid is inferior to clear. The left should be heavy, the right should be light. The brushwork of the ancients all followed this principle." A successful calligraphic work should adhere to this path. I have always believed that the foundation of a calligraphic piece is first and foremost pleasing to the eye, offering aesthetic enjoyment. "When calligraphy is deliberate, it becomes stagnant; when it is unrestrained, it becomes slippery." I often see some calligraphic works that neglect brush technique and composition, acting purely on whim and fancy, claiming to 'write from the heart and express emotions.' Tang Dynasty's Zhang Jingxuan wrote in Collected Sayings, Volume 1·On Zhang Jingxuan: "When composing calligraphy, if one acts purely on whim and fancy, claiming to 'write from the heart and express emotions,' two words manage three, and thus manages a line; one line manages two lines, and two lines manage three lines—this manages an entire sheet." This argument is very profound. Calligraphic composition is the relationship of mutual correspondence between characters, and between lines, with forward and backward resonance, and vertical and horizontal coordination. It cannot be done arbitrarily. Only through repeated reflection and multi-angle consideration can the best result be achieved.
Second, Mr. Lin Sanzhi of the modern era wrote a poem: "Calligraphy originates from wisdom's roots, should be understood from deep within. Heaven's inspiration splashes a pool of water, every drop becomes the trace of a leaking roof." Mr. Lin emphasized the 'turning point' and 'every drop.' Do we pay attention to these two aspects when creating calligraphy? Young friends often neglect to focus from a deep perspective and pay little attention to the details when writing. The Sage of Calligraphy, Wang Xizhi, wrote in After the Postscript to Wei Fangfu: "Before writing, one must grind ink, concentrate the mind, and previsualize the size, posture, straightness, and movement of the characters, ensuring the veins connect seamlessly. The intention must precede the brush, then only can one begin writing." The Sage of Calligraphy himself said, "The intention must precede the brush, then only can one begin writing"—how much more so should we! The process of composing calligraphic composition is arduous and solitary; it cannot be done casually. "When preparing to write, one should withdraw the gaze and listen intently, concentrate the spirit, and maintain inner peace and harmony, then one can grasp the essence." Sun Guoting's Book Spectrum further emphasizes the importance of the writing environment and mood through his explanation of the "Five Contradictions and Five Harmonies."
Third, I would like to exchange thoughts on learning methods with my friends. Ouyang Xiu of the Song Dynasty wrote in Testing the Brush: "On odd days, study cursive script; on even days, study regular script. Combine regular script with running script, and running script with regular script. If one does not grow weary over ten years, they will surely achieve fame." Following this path has benefited me greatly. Over the decades of studying calligraphy, I have taken a step from the realm of necessity to the realm of freedom. Our ancient calligraphers—Wang Xizhi, Yan Zhenqing, Huang Tingjian, Zhao Mengfu, Wen Zhengming, and Dong Qichang—excelled in multiple scripts while also having their own specialties. Therefore, I suggest that friends consider exploring various scripts, reading widely, observing diligently, and practicing frequently. Then, based on their own strengths, they can integrate the wisdom of the sages and finally express their individuality. It is not advisable to form one's own style too early, as poor nourishment hinders growth.