Generally speaking, both modern and ancient running scripts can be learned, but the running script used as a model must be high-level, in line with the learners' feelings and consistent with the style of regular script learned by learners.
First, "take the law." Be sure to choose copybooks with exquisite brushwork, lively attitude, elegant style, beautiful charm and rich interest as learning objects. We can't take any copybook as a model. Learning running script can not only learn ancient times, but also trace back to ancient times and learn from others. However, there are many copybooks now, so we should choose them carefully.
Second, because everyone has different tastes and hobbies, those who don't like it often don't like it, and those who like it often agree. There are many styles of calligraphy inscriptions, some are good and beautiful, some are old and spicy, and some win with boldness? ... so you should choose the right place according to your hobbies, but at the same time you should choose the right position as mentioned above.
Thirdly, it is especially important to note that the style, pen and structure of the selected running script copybook should inherit the regular script you have learned, and the pen posture and structure should be consistent. In this way, the brushwork and structure of regular script can be easily transferred to running script. For example, people who learn regular script are more likely to learn from Wang Xizhi, while those who learn regular script from Yan Zhenqing's Biography of Magu Xiantan choose Wang Xizhi's Preface to Lanting as the running script. Therefore, for people with a poor foundation, these two styles are almost the same, and it is difficult to carry forward the running script with a pen.
Fourth, when choosing a position, we should also pay attention to whether the style of the position conforms to our own temperament and interests. For introverted and quiet people, it may not be the best choice if you choose a post with bold learning style.
Here are two classic calligraphy inscriptions for your reference.
Preface to the imperial edict of Huai ren Ji Wang
In the Tang dynasty, the inscription on the running script, Huairen, a monk of Hongfu Temple, collected the books of Wang Xizhi of the Jin Dynasty. After two prefaces and postscripts, the Heart Sutra translated by Xuanzang and the names of the officials who polished, engraved and edited it were engraved. Wei Heng was founded in 672. The collection of characters as a monument began in Huairen, and most of Wang's writings relied on it. The stone tablet is located in the forest of steles in Xi City, Shaanxi Province. There are many in Ming and Qing dynasties, most of which are Song rubbings, which are still excellent.
When studying this tablet, we should not only pay attention to Wang Shu's elegance and agility, but also point out that because it is carved, there are more strokes and folds than ink, and the sense of force is better. In addition, because it is a collection of words, it will inevitably lead to problems in composition (such as inconsistent gas). ), which can be slightly adjusted in clinical research.
Wang Xizhi's Preface to Lanting Collection (Dragon Book)
In the 9th year of Yonghe in the Eastern Jin Dynasty (353), Wang Xizhi wrote a book. Preface to Lanting Collection is also known as Preface to Lanting Collection, Preface to He Lin and Sticker. Full text ***28 lines, 324 words. It has the reputation of "the best running script in the world". There are many manuscripts of Preface to Lanting, among which White Linen Paper written by Tang is also called Long Lanting. In Yuan Dynasty, Guo Tian Xi praised Feng Chengsu for copying clouds;
"The calligraphy is elegant, the ink color is gorgeous, beautiful, relaxed and happy, the turning point is subtle, the fiber is fully prepared, and the original work is first-class." This discount is kept in the Palace Museum in Beijing.
When you study, you should pay special attention to the relationship between lines, such as circulation, continuous rotation and reflection. Among them, we should not only pay attention to the joint traces of lines on paper, but also appreciate their subtle pen movements in the air. At the same time, we should also pay attention to the spatial relations within the glyph, between words and between lines.