First, the choice of pen and paper
1. Pen: large characters use both millimeters, small characters use wolf millimeters.
2. Paper: (1) Large characters use Shengxuan, and small characters use half-life and half-sprinkle gold Xuan, and do not advocate the use of familiar Propaganda to create calligraphy works. (2) The raw materials of handmade raw paper are made of pure bamboo, paper is half raw and half cooked, natural drying, with the advantages of water absorption, good tensile force, flexibility, ink drying and wrinkles, etc., which is very suitable for calligraphy.
2. About Xiao Kai's temporary study
1. The "Declaration Table" should grasp the artistic characteristics of its big and clumsy characters, the quaint and simple dot paintings, and the qing and simple qi rhyme, and use the pen to fall lightly and lightly, and the knot body takes the momentum horizontally. The key is to grasp the overall characteristics of Xiao Kai's "loose and evenly balanced, more than enough".
2. Xiao Kai generally belongs to the theology of theology, and if it can participate in the Han and Wei pen posture and the intention of Dunhuang to write the scriptures, it will increase the meaning of the timeless brush.
3. Xiao Kai's pen is especially clever in being able to see Fengying, which requires handling the contradiction and unity of "Qing" and "Plethora". "Qing" refers to the hair without loose ink and sharpness; "腴" refers to the subtle gesture of the pen and the abundance of words. Also Qing is also plump, then the bone and blood are warm, mellow and elegant, and can enter the ancient tang. If you want small characters to have a big atmosphere, you must re-ink, not only to be heavy in pen, but also to point out and draw clearly, and write out new ideas.
4, to achieve "small characters should be like large characters", in addition to writing loosely and evenly, more than enough width, but also like Mr. Gao Ershi said that the small characters should be more inky, to make the handwriting clear, such as seeing no hair, to have ink power in all directions.
5. Xiao Kai is very different from the big Kai, the big Kai starts with the requirements of the dot painting, and the small Kai takes the knot as the first priority. Xiao Kai is small, the direction of each stroke, the distance between strokes and strokes, some can not be sent, requiring each stroke to have a posture is indeed not easy. If you want to change your strokes, it is important to carry the wrist. Mr. Gao Ershi said: "Xiao Kai is also pure luck, and once it involves finger work, it cannot be achieved." "Therefore, when practicing, we should strive to improve the skill of the wrist, make the ups and downs clear, and try our best to control the skills of not false fingering.
6. Small characters and large characters are very different and cannot be regarded as enlarging or reducing each other. The big character itself is easy to indulge, if it is excessive or blindly indulged, it will flow in a rash and loose, and there is no deep and calm interest, so the big character should be put in the collection; the small character itself converges, if it is converging blindly, the shape is stagnant, and it will also be lost in the light, so the small character should be put in the light. It can be seen that there is a qualitative difference between the two, and it should be carefully considered when writing.
Third, about the writing of the main book
1. Like large characters, you can learn the Yan style "Qinli Monument" or Wei Monument, such as "Zhang Ronglong", "Yang Big Eyes", "Zheng Wen Gong Monument" and so on.
2. When studying "Zhang Qianbei", you should pay attention to the natural flow of the pen (dot painting), and try to avoid shaking and contrivance. To see the edge of the pen through the blade, it is not necessary to deliberately pursue the effect that occurs due to age and the erosion of the edge of the line.
3. Zhiyong Kaishu "Thousand Character Text" has always been considered to be a more unique and better model of imitation, in the practice of both familiar with the law of calligraphy and the law of grass, xi kai will be integrated into the nature of grass law, has the effect of killing two birds with one stone.
4. The study of the book.
We mainly take the Cao Quan Stele as an example. When studying "Cao Quan", it is not easy to write out the feminine beauty characterized by roundness, relaxation, elegance and elegance. The folding method of this post is mainly a circular transfer pen, and some of them are broken but connected. Specifically, most of the pens are tucked inwards, and the wave painting is a circular arc in the reverse upward and downward drag, not at the flank of the folding pen.
Fifth, about the practice of the book
1. It is advisable to study the book by copying the Order of the Holy Teachings. It is necessary to grasp the artistic style and characteristics of this post, such as the pen is elegant and elegant, the characters are handsome and elegant, the breath is neutral and light, etc., and its use of the pen is tucked in, the lines are thin and stiff, and the combination of dot painting, the side of the concession, the silk reflection belt, the gesture gesture and other pure nature.
Temporarily pay attention to correcting the line drag and weakness, that is, the bone is not healthy, the qi is not smooth, the ink is not sinking and other common diseases. On the basis of the general approach, it is necessary to fight a tough battle, from the font type, gesture, pen type, stroke contrast and stroke thickness, ink color change (can refer to Lanting ink), etc., word by word, pass the pass. It is necessary to work the back type to achieve a proficiency level like a treasure in the bag when creating a work. The real level of a work, and even the difference between the insider and the layman of calligraphy, often depends on a subtle little bit, the so-called "fiber to the back, no hair dead" is also.
Therefore, when writing, we must pay special attention to details, including stroke position, thickness and length collocation, glyph size, ink color thickness and wetness, stroke and glyph concession, echo relationship, etc., even if it is a slight change, do not let go, in order to train and improve their eyesight. With the foundation of the Holy Order, it is much easier to learn the Orchid Pavilion Order, and focus on the study of chapters, qi, and subtleties; then learn the codex of the king, learn how Wang Xizhi gives shape to words, plots according to circumstances, and so on.
2. In a sense, the pro-thesis is the sum of the comprehension and skill of the person who is pro-book. It is necessary to adhere to the combination of reading, imitation, and pro-three, read to get its fun, and through reading the characteristics of the points, paintings, structures, potentials, and knots in the model are deeply imprinted in the mind; to get its shape, the charm of the word cannot leave the structure, and on the basis of reading, it is necessary to concentrate on the handwriting and remember all kinds of glyphs; to get its own intentions, after two steps of effort, this step will be like a fish in the water, and then slightly refer to its own intentions, strengthen its own accumulation, and enter quasi-creation.
3. For the study of the penetration of "qi" and the emergence of "potential", of course, it is related to proficiency, but the key is to have this concept, whether it is "reading", "pro" or "creation", whether there is this concept is very different, you can find this discussion from ancient and modern books, read and experience carefully.
4. Huang Tingjian's book gesture is vertical and horizontal, and the dot painting is open, although it is a radial structure, it is not loose; the body posture is oblique, but it does not fall. The Songfengge Poetry Scroll is a masterpiece of his later years, and the above characteristics are fully reflected. When writing, we need to pay attention to the beauty of the connotation of "things in the pen" pursued by Huang, or the victory of "qi rhyme".
5. The choice of learning books is still relatively high. To do a good job of this post, we must first understand the overall characteristics of mi fu calligraphy, firmly grasp the artistic characteristics of this post, and then carefully study its use of pens, structures, chapters and ink methods, etc., especially the characteristics of the pen should be carefully studied, mastered, memorized, and used, and change their pen habits; the font should be memorized to reach the level of proficiency in creation, and it is necessary to avoid only taking a rough idea. Mi Fu's wrist strength is abundant, the pen edge is strange, the pen is moist and gorgeous, and he pays great attention to pen strength and gestures. The force is born of the momentum, and the potential is manifested by the force, so the bone strength is gentle and the pen gesture is smooth.
Sixth, about the practice of cursive writing
1. Cursive writing is divided into two categories: one is the chapter grass, that is, the grass of the subordinate; the other is the present grass, that is, the grass of kai, which should belong to the same level as the xingshu. Wild grass belongs to this grass, if the book is "walking", the grass is "running", and the wild grass is "running". At present, the fashion of walking and running grass is also a style. Xi Cao should have a certain orthographic foundation, because the grass comes from the orthodox (seal, subordinate) book, and at the same time the grass is also the aesthetic quality of each body. Cursive writing has strict requirements from calligraphy to penmanship structure, only from shallow to deep, from easy to difficult, from flat to dangerous, step by step, and after a long period of training in calligraphy and techniques, can we truly master and learn this art. The main attack on the big grass should start from the small grass, but you can first learn Wang Xizhi's "Seventeen Posts", Zhiyong or Huai su's "Thousand Character Text", and Sun Guoting's "Book Genealogy". Because all kinds of styles of grass are based on small grass, with a certain grass foundation, you can choose large grass works that conform to your own aesthetic concepts as your own temporary study model. Because cursive writing has more meanings than laws and is particularly emotional, xicao also needs to pay attention to extra-literal kung fu. Because the writer often subconsciously expresses his aesthetics, cultivation and emotions in an instant, the so-called "book is like his person" is most fully expressed at this time, so Xicao needs to improve his artistic accomplishment.
2. Master Wang Xizhi Kai chengzhongxuan, and cursive writing goes up to Zhang Zhi. His "Seventeen Theses" is written in cursive in the style of real calligraphy, and the grass is as true as it is, so its pen is charming, the structure is exquisite, it seems simple, and it is difficult to know after the next pen. To this end, it is recommended that: first, it is 1 to 1 or slightly larger for temporary study, so that it is convenient to find gaps in the school post, correct it in time, and do not repeat mistakes; the second is to study the tool pen and ink paper to achieve the effect of the original post. The pen should be used in hard millimeters or concurrent millimeters, and the paper can be used on yuanshu paper or half-baked sprinkled gold propaganda, etc.; the third is to conscientiously study the introduction articles and materials on the artistic characteristics of this post, so that we can have a profound understanding and grasp of the technical and artistic characteristics of this post, such as pens, knots, chapters, and interests; fourth, we can still be exquisite in our observations, and the ideas are as valuable as they are. Details are the life of art. In the process of analyzing and studying every detail (such as the beginning, line, and receipt of the pen), we must be good at discovering things that others have not found and accept them in our own pens.
3. The number of words in the "Book Score" is mostly grassy and has a clear trajectory, which is easy to follow its method. The "Book Notation" should show the handsome and elegant, steep and broken pen, vertical and horizontal, graceful and strong gestures, especially in the middle of the pen, the use of the pen, the clear press, the degree of frustration produced by the texture and rhythm of the "moth effect", especially exquisite. First attack the "Book Spectrum", the other can be put aside first, should concentrate on seriously to write, do not need to ask for quantity, to be accurate and refined as the standard, you can choose a representative, think wonderful few words or a few lines of words, from the pen gesture, font gesture and other analysis thorough, deep understanding, and can use their own pen to recognize the style characteristics of the exquisite expression. In this way, the accumulation of the whole post is mastered, and the original post can be written at will, and the original post will certainly be greatly improved. At this time, do not worry about the personality is not strong, as long as you have this foundation, you will purposefully choose other classics, selectively absorb the nutrition that can improve and enrich this style, and over time, you will be able to make your works both traditional and more obvious to show their personality.
4, "Book Spectrum" after getting started and then study the "Seventeen Posts", this post throughout the text to be convenient, almost no extra brush painting, washing and clean, other or later grass, wild grass is just on this basis of the vertical and horizontal play. On this basis, there are Huai Su's "Self-Narration Posts" and Huang Tingjian's "Taibai Reminiscences of Old Travel Poems". Huaisu cursive is unrestrained and does not lose the rope rules, and yellow cursive adds "point" method. With these foundations and then dabbling in each family, you may wish to go through them all, collect their strengths and lay the foundation for future creations.
5. Lin xi Huaisu's "Self-Narration Post" should be reflected in the clean and healthy pen posture of the post, the round and healthy lines shown by the lean tone, as well as the unrestrained and smooth posture and the layout of wanton indulgence. This post is consistent with the center forward from beginning to end, and the degree of stagnation and the sense of solid, robust line force generated by the lifting and pressing must also be expressed.
6. Zhang Xu's "Four Ancient Poems" (controversial in academic circles) and "Belly Pain Stickers" are his representative works, which are thicker than Huaisu's "Self-Narration Posts", and there are turns and folds, mentions and presses, the middle side is applied at the same time, the gesture is strong and longitudinal, and the rhythm of the cloth white virtual reality is strong. Some students are studying Chinese calligraphy and brushwork, composition, etc. there are all inadequacies, some places of penmanship are not clear, some are not in place, some are over, the conversion of the center flank is not natural, the lines are not solid enough, the rules are not smooth, there is a phenomenon of top cattle and gas loss, and the relationship between concessions is not handled well.
7. Cursive writing creation should have a certain momentum, accurate calligraphy, bold with the pen, dare to write freely, and pay attention to the change of ink color, the transition is natural, and there is a sense of rhythm. Pay attention to prevent the use of pen scrawling is not heavy, the stroke is not clear, the pen is "over" or not in place, the pen is stuck, etc., especially the pen at the turn. It is necessary to strengthen the copying of the classic Fa-ti, strengthen the training of calligraphy and techniques, seek refinement in the atmosphere, and take the road from raw to mature, from familiar to skillful, back to life, and from law to intention.
8. When studying Wang Xi's cursive codex, whether it is a font, a gesture or a pen type, a gesture should be insightful and can be accurately expressed. In particular, at the level of expressing affection and "metaphysical" in the post, it is even more rare if it can be understood and put into writing. For example, the pen-shaped mood of the first three lines of "Kong Shi Zhong ti" and the relatively calm mentality expressed by the rhythm of one word and one meal, the last two lines of gestures are significantly accelerated, and the rhythm of writing with two words appears, deepening the author's melancholy mood, forming a unique emotional rhythm throughout this post, which should be observed in the eyes and reflected in the pen end.
9. If you are interested in the grass, you should also dabble in the seal, the affiliation, and the kai, lay a certain foundation of the book, from shallow to deep, from easy to difficult, from flat to dangerous, step by step.
7. About the path of learning books
1. The creation of calligraphy needs to have a long-term process of accumulation, selection, casting and refining. What to learn, what to take, what to give, how to refine and sublimate what you have learned, and finally how to forge your own calligraphy language, all need to be seriously considered and studied, and explored in practice. The most taboo thing is that there is no main bone, the east and the west, the head is confused, and in the end, it can only linger outside the gate of the calligraphy hall. The general experience is to first find a classic Fa Ti (no matter what kind of book style) that suits your personality characteristics and likes it very much, study it carefully, and master the fa of the family, that is, the so-called "ligen". With this foundation, in the future, when dabbling in hundreds of homes, there will be a clear direction for the trade-offs. Will be able to trade off before it can be refined, with this process, it will gradually move towards maturity.
2. The purpose of copying "the one who observes is still fine, and the one who imitates it is like a noble one" is to completely change one's writing habits (some have become habits), develop the good habit of "not being vain, and having a reason for writing", and truly learn the good things in the ancient thesis. In this way, with the accumulation of temporary study, the techniques and connotations contained in many classic calligraphy posters have been learned to enrich themselves, and they have the "internal strength" necessary to step into the art of calligraphy.
3. It is necessary to learn the classic works of classical authors and learn the good things that have been tested by history and recognized as desirable methods. For good models, we should imitate the heart, God should think thoroughly, truly get the wonderful way, and naturally know the good or bad of other posts or even fakes, and then choose the good and follow. It is also necessary to read more books and articles on the basic theory of calligraphy, and study more ancient theories and the fine works of modern masters, which will have a lot of benefits and will soon be improved.
Source: One Calligraphy