Heavy | The Art of Doing The Trick: He removes the secret of the axe chisel marks and looks at the blade through the blade

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Heavy | Kaifa Guihuo: He removes the secret of the axe chisel marks and looks at the pen through the blade

Fang Hongyi's book "Four Treatises on the Book of Wang Xi".

Fang Hongyi started with Ou Kai, integrated the strengths of all, and finally became his own face. Its calligraphy is beautiful, fresh and round, like a water hibiscus, without the axe chisel traces of the Tang Monument, which is extremely rare.

People who have always studied Ou Kai have difficulty getting rid of their knife marks, and Huang Ziyuan, a member of Ou Kai in the Qing Dynasty, is known as the "Sage of Characters", and this is no exception. It is the contemporary Ou Kai everyone, although it is called change and innovation, it has not shed its monumental flavor, to put it bluntly, it is too dead, too plated, too stylized, and the important reason is of course the penmanship and calligraphy.

First of all, words are written, not carved, not depicted, not copied, and not blindly copied.

Secondly, carving a knife is a dead rule, and writing with a brush is a living rule. Generally speaking, not so neat, not so smooth, if you often use the brush to write, you will find that the strength is unchanged, that is, the pen force is unchanged, can be reflected by the blade, and the stroke is changing, through the stroke of the blade, either increased, or reduced, even if the double hook, can not do no increase or decrease.

Good at looking at the pen through the blade, the forty-three lines of the "Lingfei Sutra" is the best proof, no matter what other good books, it is not as good as the forty-three lines of ink, if you really want to understand the truth of seeing the pen through the blade, I think, from the forty-three lines of the "Lingfei Sutra" more experience, more comparison, the difference is greater, the difference is greater, beyond your imagination.

Therefore, I have always thought that the post cannot die, but the brushwork and orthography, not the strokes. Unfortunately, many so-called famous masters have not been able to peek into their doorways, and they are always laymen.

The third is the nature of nature. Everyone is different, handwriting is a science, so everyone writes the same post, writes the same word, will be different, penmanship, technique, strength, habits, preferences, etc. will be reflected in the ever-changing handwriting. Words are like people, the words you write are yourself, it will not be Wang Xizhi, it will not be Yan Zhenqing, and it will not be Su Shi.

Fourth, death is imminent, and the result is that it will only come, not write it yourself. The beginning is the pro, then the back is the pro, and finally the proficiency is the same as copying, but in the end it can not hide the eyes of the book, and the conclusion is that you will not write until you die, because no one has ever been able to do it in the past.

Mr. Fang Hongyi's calligraphy is to write his own words, which is the highest state of calligraphy: hua. What? Turning others into themselves, turning the ancients into themselves, turning many into one, the real state of calligraphy is very comfortable, that is, people often say that unintentional, deliberate habits of unintentional, heart and hands, and finally into their own spirit.

Fang Hongyi is a member of the Chinese Calligraphers Association. Born in Beijing in 1955. Since childhood, he has loved calligraphy and has been constantly graffiti. He studied calligraphy at the Affiliated School of the Chinese Calligraphy and Painting Research Society in Beijing and the Correspondence University of Calligraphy and Painting in China, and gradually gained results. He studied many inscriptions, and finally took Ouyang Qing and sui and Tang Kaishu as their faces.

Fang Hongyi's "Four Treatises on the Book of Wang Xi" is super qing appreciation

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