Please enjoy 2 pieces of copywriting about calligraphy (selected 58 sentences). Welcome to share and collect.
Copywriting about calligraphy Part 1
1. Calligraphy incorporates the perseverance, courage and enterprising spirit of Confucianism, as well as the emptiness, dispersion and tranquility of Lao and Zhuangzi. It often changes in a way that does not seek richness, and omits the worldly glitz in the writing in order to seek emptiness and distance. Real flavor means.
2. Observe the strength without losing it, the posture without exaggeration, and the handwriting with flowing water and clouds.
3. Du Shijie has strong bones but is thin in calligraphy and painting. If there are no leaves in the frost forest, the waterfall will fly in.
4. The ancient ink is lightly rubbed with a few fragrances, and the new inkstone bath shines brightly, either vigorously or gracefully, or like a graceful beauty, or like a vigorous and brave warrior, or like the spring breeze blowing in the face of flowers, or like the north wind blowing in. Guan is deep and cold.
5. Like a strong man drawing his sword, his appearance is moving.
6. Manqing’s pen is full of facial muscles and willow bones
7. Luan Xiang Feng Zhu: Zhu: Flying high. It is a metaphor for the flying posture of calligraphy strokes.
8. Luan Piaofengbo: Luan: a legendary bird like the phoenix. It turns out that calligraphy is described as free and unrestrained. It is also a metaphor for the separation of husband and wife of advanced students.
9. Flying dragon and snake: describes the vigorous and vivid calligraphy strokes. Su Shi's "Xijiang Moon·Pingshan Hall": "I haven't seen the old immortal for ten years, but dragons and snakes are flying on the wall."
10. Dragon flying and phoenix dancing: Like a dragon soaring, like a phoenix flying. The original description is unrestrained and majestic. Nowadays, calligraphy is often described as lively, flexible and skillful writing, and it also describes the lifelike dragon and phoenix sculpture art.
11. With a few scribbles, a picture of a soaring dragon will appear on the paper. The dragons he painted are lifelike, majestic and varied. When Chen Rong painted a dragon, he often did not paint the entire dragon, but painted the head or claws of the dragon, which flickered in and out, as if hearing its sound or seeing its shape. He also splashed ink to form clouds and sprayed water to form mist. It was so magical that people called it " Suo Wenglong" (Chen Rong's nickname is Suo Weng).
12. The fonts are interlaced, large and small, open and close, and the thickness of the lines changes obviously, with ups and downs. The last line is crooked, so crooked that it almost falls over, but this tilt is not rigid, but more free, reflecting his willful side and his own style. Chen Rong's posture is steep, and the shape of his knots may be leaning or upright, heavy or light, which has the beauty of "coming like thunder and gathering wrath". He writes quickly, uses the pen forcefully, and exerts heavy force.
13. Be simple and unpretentious and accept the universe.
14. The teacher’s words are a symbol of years and years, each stroke is sonorous and powerful.
15. Be assertive and domineering, without being restrained at all, even writing the whole line in one stroke, like a god, coming and going without a trace.
16. The teacher's words are like petals, the fragrance spreads far and wide, becoming more and more fragrant.
17. The dragon and the snake race together and wear through the iron inkstone.
18. Its color, its shape, its density, its dryness and wetness, its discontinuity and rolling, the thickness and thickness of the dew are all infinitely variable, and the weather is myriad.
19. The majestic brushstrokes and sweeping gestures are unintentional and the palms of his hands are forgotten, giving him the most vitality-infused characteristics.
20. Giving examples: Zuo Qiuming wrote a biography of "Spring and Autumn" and summarized the calligraphy of "Spring and Autumn" into several categories and gave a general explanation. Later, the style of classifying examples to explain a book was called "examples to enlighten". See "Fanfan Jiexi". Powerful and penetrating the back of the paper: It originally refers to the strong and powerful calligraphy, but now it is also used to describe the vivid, profound and powerful poetry.
Copywriting about calligraphy Part 2
1. The sword is at war: the sword is drawn out of its sheath and the bow is opened. Describes a situation that is tense and about to explode. Later, it was also used as a metaphor for calligraphy to be vigorous and powerful.
2. Spring earthworm and autumn snake: It is a metaphor for poor calligraphy, which is as crooked as the tracks of earthworms in spring and snakes in autumn.
3. Huang Ting was first written: Huang Ting: Taoist classic "Huang Ting Jing", Jin people have "Huang Ting Jing" small regular script calligraphy. In old times, when commenting on calligraphy, there was an idiom: "The first time I wrote Huang Ting, it was just right." Later it was used as a metaphor for doing things just right.
4. Beauty Hairpin: Describes the beauty and beauty of calligraphy or poetry style.
5. Penetrate three-thirds of the wood: The original description is the strong calligraphy pen (it is said that when Wang Xizhi of Jin Dynasty wrote on the wooden board, the ink penetrated into the wooden board three-thirds deep), now it mainly describes the profound and powerful analysis, description and discussion. The power of similar words can be seen through the back of the paper, and it is an apt description of the root of calligraphy.
6. The paper is like a cloud of smoke.
7. "Cursive Songs" by Li Bai of the Tang Dynasty: "From time to time, I only see dragons and snakes walking away, and the left and right are frowning and shocked."
8. Calligraphy incorporates the perseverance, courage and enterprising spirit of Confucianism, as well as the emptiness, dispersion and tranquility of Laozi and Zhuangzi. It often changes in a way that does not seek richness, and omits the worldly glitz in the writing in order to seek emptiness and distance. Real meaning.
9. Chen Rong takes a steep position, and the shape of his knot is either leaning or upright, heavy or light, and has the beauty of "coming like thunder and gathering wrath". He writes quickly, uses the pen powerfully and exerts heavy force.
10. The fonts are interlaced, large and small, open and closed, and the line thickness changes obviously, with ups and downs.
11. The wind is free and flowing, with long waves, ups and downs, twists and turns, and full of charm. It is not less elegant than "Lanting", and is almost comparable to Yan's "Sacrifice to Nephew". It can be called a masterpiece of running script.
12. Cursive writing is as light as a feather, like a flying dragon or a phoenix. The regular script is vigorous, powerful, and straight.
13. When you write down the pen, you will see it as if a horse is free of rein and soaring into the sky and away from the dust; it is also like a dragon flying in the sky, moving around, coming from nothingness, and returning to the void again. This almost crazy impulse of primitive vitality contains the universe of heaven and earth. of aura.
14. Spread the paper and swipe the brush, and the pen will drive away the dragon. The straight strokes are like swords, the curved strokes are like vines, the points are like rocks falling from dangerous peaks, and the strokes are like orchid leaves blowing in the wind. Opening up new paths vertically and horizontally, writing about life heartily and vividly is an ingenious combination of dots and lines, a blend of joy and sorrow in life.
15. The charm of Mao calligraphy lies in its uninhibited and majestic spirit, its overwhelming revolutionary passion and power, and the essence of cursive script that directly inherits the "subversion of madness".
16. If it is Liu Gongquan's style, it is as strong and powerful as bones, and the momentum is strong - strong in structure, rigorous in every word, and meticulous in every word. Thin and powerful, the regular script style is powerful and charming, the bones are strong and the road is strong, and it is extraordinary and refined. The longer one is thin and stretched, the shorter one is strong and strong.
17. Use your pen with your heart in mind. If your heart is right, your pen will be right. If your pen is right, you will be able to practice it. ——Liu Gongquan
18. The dragon is powerful and the tiger is vibrating, and the sword is at war. ——Yuan Ang
19. The origin of the word is that the water of the Three Gorges flows backward, and the pen array sweeps away an army of thousands of people alone. ——Du Fu, a poet of the Tang Dynasty, "Drunken Song"
20. The book must be clear and thick, and clearness and thickness must be based on the heart. Otherwise, although the book is spared from being thin and muddy, it is just a reflection of others. ——Liu Xizai's "Art Introduction"
21. Wherever there is a screen, it is clear that there is trace of traces. Although it is dusty and stained, there are still thick ink marks. Strange rocks rush into the autumn stream, and ancient pines hang on cold vines. If you teach near the water, every word may become a dragon. ——"Cursive Screen" by Han Xi, a poet of the Tang Dynasty
22. It’s better to have the right tools at the right time, and it’s better to have the right tools than to have the right intentions. ——Sun Guoting's "Book Book"
23. Zhang Huaiguan, a calligrapher of the Tang Dynasty.
24. If the shape is similar, the calligrapher is the best. However, there is very little information in this, so don’t let it die at the end of the sentence.
25. All stipples have muscles and bones, and the fonts are natural and majestic.
26. The most powerful thing is to start with reverse strokes. Chu Henan's books are all reversed, and they are also official.
27. The nature of writing and emotion are all based on human temperament. This is the first task of writing with rationality and emotion.
28. Hands and luck, art comes from experience. His ambition is set in the book, his crown cannot be moved, his poverty and humbleness cannot be surrendered, he is proud and contented, and he will live his whole life.
29. Clouds and cranes travel in the sky, and flocks of crocodiles play in the sea.
30. I can’t write this book. ——Huang Tingjian, poet, lyricist and calligrapher of the Northern Song Dynasty, "Collected Works of the Valley"
31. Learning books can lead to long-term knowledge. ——Zhang Yanyuan
32. A straight heart leads to a straight pen. ——Su Shi, a writer of the Northern Song Dynasty, "Books to the Six Families of the Tang Family"
33. The book is like Ye, like his learning, like his talent, like his ambition, in short, just like his person.
34. His physical appearance is extraordinary, different from the past and present. Falling pearls and jade, fluttering tassels. The heir of Cangjie. The ancestor of Xiaozhuan. With name book, stone drum remains. ——"Book Break" by Zhang Huaiguan , a calligrapher of the Tang Dynasty
35. The dragons and snakes in the writing seem to be gods. ——Zhang Huaijin
36. It may express your ambition to achieve great things, or it may relieve your depressed mood. Although it is noble, it cannot suppress its height, and although it is wonderful, it cannot control its power. ——Zhang Huaijin
37. The vertical and horizontal characters are like the beams of a house. They should be straight and not tilted.
38. The pen must be flying in the air, which is solid. However, scholars misunderstood Sri Lankan language and slipped all the way into the sky. It must be said that only when the Qi is empty and the pen is solid can there be no harm.
