Chinese characters have their specific forms.strokesThere are certain arrangements for the length and density of the radicals, and the size and height of the radicals, which is called the interframe structure. the so-calledstructureRefers toChinese character strokesThe law of combination; the so-called frame refers to the proportion of each part of the character. Although each Chinese character in our country has a shape with thousands of forms; the same character also has different calligraphy styles and calligraphers' styles, which makes the structure of Chinese characters unpredictable. But no matter how it changes, there is always a law (that is, the basic law of structure), and there are always rules to be found. So the Tang DynastyOuyang Xun, Li Chunjin and Ming DynastyQing DynastyHuang Ziyuan summed up the "Thirty-Six Methods of Knotting Characters", "Eighty-Four Methods of Large Character Structure" and "Frame structureNinety-Two Laws.

1. Horizontal and vertical: The "horizontal and flat" we usually talk about refers to the stability of the horizontal painting, not the horizontal. Horizontal I tilt 5--10 degrees to the right, which is called "taking the oblique posture" in calligraphy. "Vertical" refers to the strong vertical painting, and it does not mean vertical. According to the shape of the font, it can be oblique, straight, curved, and straight.

2. Tight at the top and loose at the bottom: The strokes in the upper part of the font are relatively compact, while the strokes in the lower part are looser.

3. Open at the top and close at the bottom: The characters with a mouth, or characters with a flat mouth, such as the bottom of the mountain character and the head of the cursive character, should be opened slightly wider at the top, and narrowed at the bottom.

4. Up and down: When there are extended strokes such as skimming, pressing, and long horizontal strokes in the lower part of the character, the upper structural unit should be tightened; the lower part should be stretched left and right to support the upper part, which is called "ground load".

5. Up and down: when there are stretched strokes in the upper part of the character, the lower structural unit should be tightened;

6. Stretch the left and let the right: In order to let the right, the horizontal painting on the left side of the word is divided into two sections by the vertical painting, the left side is longer and the right side is shorter.

7. Thin on the left and thick on the right: When multiple vertical lines are arranged in a character, the left vertical line is thinner and the right vertical line is thicker.

8. Short on the left and long on the right: Where there is a long mouth frame, the left vertical is short and tenuous, and the right vertical is long and thick.

9. Left broken and right connected: the opening frame or the small horizontal line between two vertical strokes, usually connected to the left vertical rather than the right vertical. If there is a middle vertical crossing the small horizontal, usually the small horizontal is suspended in the air between the left and right verticals.

10. Lifting the left small up: In the left-right structure, when the left side is small and the right is large, the small left side should be slightly upward in the middle of the big right side.

11. Small right drop: In the left-right structure, when the right is small and the left is large, the small right is suitable for living, and the middle of the large left is slightly lower.

12. The left side is narrow and the right side is wide: the left ear is narrow and slightly shorter to match the right; the right ear is slightly wider and the hanging needle is vertically long to match the left.

13. Left hanging and right hanging: When there are multiple vertical lines in a character, the left vertical line cannot be written as hanging needles.

14. Looking left and right: Pay attention to the left and right structural units and the shape of small strokes, making them vivid and closely related.

15. Left-right symmetry: take the center vertical as the standard, and the length, height, and width of the left and right strokes are coordinated in order to achieve balance.

16. Surrounded by lower left and upper left, inside slightly to the right: When surrounded by upper left or lower left, the internal structure should be written slightly to the right, so that the center of gravity of the whole character is in the middle of the grid.

17. Enclosed on the upper right, slightly to the left inside: encircled on the upper right, the internal structural unit should be written slightly to the left, so that the center of gravity of the whole character is in the middle of the grid.

18. Leaving low and pressing high: the line connecting the left and right sides is a diagonal line (the other two points on the left and right are not written the same way), which is also related to the oblique posture.

19. Uniform gaps: When there are multiple horizontal or vertical arrangements, try to make the gaps up and down or left and right as uniform as possible.

20. Hook to center: for curved hooks and horizontally folded oblique hooks, it is better that the point of the hook is aligned with or close to the centerline of the structural unit or the character.

21. Stable surroundings: For characters with a square frame, the outer frame is stable and square, and cannot be tilted into a parallelogram shape.

22. Filled to the left: The structural units in the box should occupy the inner space and be slightly to the left.

23. No painting wrapping vertically: When there is no stroke in the mouth, the lower right corner of the mouth frame extends horizontally to wrap vertically.

24. There are paintings enclosing horizontally: when there are strokes in the mouth, the lower right corner of the mouth frame extends vertically to enclose the horizontally.

25. Crossing and centering: the crossing point of left and right should be on the center line of this structural unit or this character.

26. Do not repeat the 捺: when there are more than two 捺, you only need to stretch one 捺, and the other changes.

27. Breaking the pen and connecting the meaning: Although the pen and the pen are independent, make sure that the movement track between the pen and the next pen is natural and there is an internal connection.

28. Skimming into the frame: When the willow font consists of an upper and lower frame, it is generally inserted into the frame.

29. Inward and outward: the willow characters are gathered in the middle, and the periphery of the characters is evacuated and released.faceThe word is opposite.

30. Left up vertical right: In the characters connected with vertical and left, the starting position of left is generally on the right side of vertical.