Appreciation of Arabic numeral calligraphy fonts
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Aesthetic standards of calligraphy
Wang Sengqian, a calligrapher in the Southern Dynasties, said in "Praise of Literary Style": "The wonderful way of a book is that the spirit comes first, followed by the form and quality, and only those who have both can be praised by the ancients". Here, it is emphasized to write the spirit in form, with both form and spirit.
Generally speaking, "shape" includes the stippling lines of calligraphy and the resulting spatial structure; "God" mainly refers to the expressive meaning of calligraphy.
(A) calligraphy stippling lines
The stippling lines of calligraphy have infinite expressive force, which is abstract in itself. The calligraphy image they form has no definite meaning, but should contain all the characteristics of beauty. Require a strong sense of quantity, rhythm and three-dimensional sense.
1, sense of strength
The power of stippling lines is one of the elements of line beauty. It is a metaphor, pointing out the sense of power aroused by drawing lines in people's hearts. As early as the Han Dynasty, Cai Yong made a special study on stippling lines in Nine Potential, pointing out that "hiding the head and protecting the tail, the strength lies in the words", "making the pen always walk in stippling" and "making stippling as powerful as possible". It is required that the stippling should be hidden deep in the laurel corner, and what is done will be collected and its power will be obvious. It should be noted that our emphasis on hiding the head and protecting the tail does not mean that we can ignore the midline. The center line pen must take the convergence center, so as to make the stippling lines round and smooth, warm but not soft, and contain strength. But the starting point and ending point of the dotted line are not all hidden in the corner (both large print and small print must hide the front). Calligraphy is often combined with hiding and revealing as needed, especially cursive script. When appreciating it, we should pay attention to the acceptance and echo of the beginning and the end, and whether the middle part is flashy and frivolous.
2. sense of rhythm
Rhythm originally refers to the regular changes in the height, strength and length of notes in music. Because of the different strength and speed of calligraphy in the process of creation, different forms such as thickness, length and size change regularly alternately, which makes the stippling lines of calligraphy have a sense of rhythm. The strokes of Chinese characters are different in length and size, which further strengthens the rhythm of stippling lines in calligraphy. Generally speaking, regular script (such as seal script, official script and regular script) has a weak sense of rhythm, while running script (running script and cursive script) has a strong sense of rhythm and rich changes.
3, three-dimensional sense
The stereoscopic impression is the result of using the pen in the center. The strokes written in the center are "reflected in the sun, and there is thick ink in the center of the painting, which is just in it. As for the fold, there is no deviation." In this way, the dotted lines can be full, round and round. Therefore, the pens used in the center have always been highly valued. However, we can't find the profile that can be seen everywhere in calligraphy creation. Except for Xiao Zhuan, all other calligraphy styles are inseparable from the side edge. Especially cursive script, as a supplement and foil to the center, wingers can be seen everywhere.
(B) the spatial structure of calligraphy
On the premise of following the principles of Chinese font and stroke order, the stippling lines of calligraphy cross-combine and divide the space to form the spatial structure of calligraphy. The spatial structure includes three parts: single word structure, whole line circulation and overall layout.
1, single word structure
The structure of a single word requires neatness, fluency, balance of length and density. In this way, on the basis of caring for the truth, we can pay attention to the decay, intricate changes, natural image, danger in peace and interest in danger.
2, the whole line of qi
In calligraphy works, the characters are connected up and down (or before and after) to form a "linking", which requires coherence from top to bottom. Although the static characters such as regular script, official script and seal script are independent, the strokes are broken and connected. Running script, cursive script and other dynamic characters can be word for word, with hairspring traction. In addition, we should also pay attention to the change of size, positive response, contrast between reality and reality, and the resulting sense of rhythm. In this way, the circulation of qi can be natural and coherent, and blood vessels can be unblocked.
3. Overall layout
In calligraphy works, the combination of dots into characters, hyphens into rows and lines into chapters constitutes the cutting of space by dots, thus adding salt to the overall layout of calligraphy works. It is required that the density between words and between lines is appropriate, and the white is black; Flat and balanced, positive to each other; Rugged and full of changes. Among them, the static characters such as regular script, official script and seal script are mainly fair and balanced; The dynamic characters such as running script and cursive script are complicated and ups and downs.
(C) the spirit of calligraphy
Spirit refers to the air and brilliance on a person's face. The expression in calligraphy refers to the spirit, style, temperament, interest and interest revealed in lines and their structural combinations. "Spirit comes first, shape comes second, and both can be seen in the ancients." It shows that spirit is higher than "form and quality" (the shape and appearance of stippling lines and their structural layout), and form and quality are the premise and foundation of spiritual existence; Therefore, the essence of calligraphy artistic expression is the overall harmony of stippling lines and their spatial combination. Pursuing the spirit and expressing the spirit of nature will always be the highest realm that calligraphers strive to pursue.
On the one hand, the acquisition of calligraphy spirit depends on skillful creative skills, which is the premise and foundation; On the other hand, only when the creative mind is calm and comfortable, the creative center is fluent in both hands, and I forget myself, can I write my true feelings and integrate my knowledge and aesthetic taste.
In short, there is no fixed pattern in the process of calligraphy appreciation due to the influence of personality psychology. The above is just one method of calligraphy appreciation, and several methods can be used alternately in the process of appreciation. In addition, in the process of appreciation, we must comprehensively use all kinds of calligraphy skills, techniques and calligraphy theory knowledge to maximize our aesthetic evaluation ability and try our best to appreciate the artistic conception of the works according to the author's creative intention. We should strive to appreciate and comment, evaluate and reward the work, and put it in a specific historical environment to make a correct appreciation and fair and objective evaluation of the work. Of course, mastering the correct appreciation method is an important way to improve appreciation ability. Yang Xiong said: "You can see a thousand swords before you can see a thousand swords; Can read thousands of fu, and then can fu ",that's what I mean.
Rules for the use of Arabic numerals
In sci-tech books and periodicals, Arabic numerals are frequently used because of their simple strokes, scientific structure, clear images and few groups. Whether their use is correct and standardized is directly related to the quality of sci-tech periodicals.
1. Where Arabic numerals are used.
The general principle of using Arabic numerals in sci-tech books and periodicals is that Arabic numerals should be used wherever they can be used, as long as they are suitable. The main use occasions are:
(1) physical quantity. The numerical values of physical quantities must use Arabic numerals, and the units of measurement after the numerals must use legal units of measurement in China, such as 3 kg, 45 m, 2 min, etc.
(2) century, year, year, month, day and time. Such as: 1990s, 2005, 65438+February, 12, 16, 15, etc.
(3) The number before the counting unit. Numbers greater than 10 before the counting unit must use Arabic numerals, the integer 1~ 10, and Arabic numerals should be used where appropriate. Such as: 12 pencil, 4 tubes, 1 flower, etc.
(4) the number of counts. Whether it is a chart or a narrative, the counted figures must be Arabic numerals, including integers, decimals, percentages, proportions, etc.
(5) Model, serial number, serial number, code, etc. Instrument model, sample number, standard number, etc. Often appear in scientific papers, Arabic numerals should be used, and the word "first" is often used before ordinal numbers. Such as: ML 1332 detector, GB 18745, group 8, etc.
2. Arabic numerals writing rules
(1) The "0" before the decimal point of pure decimal cannot be omitted. Whether it is narrative or chart, the "0" before the decimal point of pure decimal cannot be omitted, and numbers in the formats of ".27, .39" cannot appear.
(2) Arabic numerals cannot be used together with Chinese numerals, except "Wan", "One" and Chinese symbols prefixed with "Four". For example,13 million can be rewritten as13 million, but it cannot be written as13 million.
(3) Numbers with four digits or more should be written by three-digit segmentation method.
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