The creation of the book in the true sense is the comprehensive use of the author's already mastered techniques, skills, learning and insight for independent, personalized thinking and artistic labor of pen and ink expression, it is different from the creation of the set of characters, because after all, the creation of the set of characters has the attachment of the law thesis, the author is processing, finishing the work, in appearance, similar to the style of the collection of the post as the highest criterion, and the creation of the book emphasizes independence, personalization, advocates a straight lyrical chest, and takes the completion of the work with its own style as the crane. The following are examples of the creation of famous books, hoping to inspire you.
Huang Tingjian
In history, there are calligraphers with equal names as fathers and sons, and there are also calligraphers with equal names as teachers and students. The former such as Wang Xizhi, Wang Xianzhi, Ouyang Qian, Ouyang Tong, Mi Fu, Mi Youren; the latter such as Zhang Xu, Yan Zhenqing, Su Dongpo, Huang Tingjian, the reason for this is not similar to the style of writing, but the same trend, just the opposite, but the son (born) inherits the art of the father (teacher) and takes a unique path.
Huang Tingjian is such an outstanding calligrapher, he studied under Su Dongpo, learning not the shape of Su Dongpo's calligraphy, but Su Dongpo's calligraphy spirit and calligraphy concepts. He vigorously agreed with Su Dongpo's "Shangyi" proposition, advocated innovation, and worked hard to "change the law"; he studied the "Crane Ming" and boldly absorbed the structural characteristics of "radiation" in the "Crane Ming", forming the stylistic characteristics of the convergence of the middle officials and the extreme opening around him, which was far from the flat shape of Su Dongpo's knotted characters.
Wang Duo
Wang Duo learned from the ancient but not the mud ancient, he "one day to read, one day to ask for advice", the copying and creation of organic combination, for posterity to create a new model of learning calligraphy. In the study of calligraphy, there is indeed a situation in which copying is copied, creation is created, and copying and creation are two "" skins that are difficult to glue together.
We think that copying focuses on cultivating the writer's high pen control ability and modeling ability, creating calligraphy as a carrier to express the author's emotions, in the process of copying and creation, through copying, constantly experience the classical mood and spirit, so that they gradually realize the magic of calligraphy. Through creation, you can express the different ideas of the writer, including the choice of the learned poster, the feeling of life, the experience of life and the capture of inspiration. The purpose of copying is to create, and the premise of creation is copying. Wang Duo's method of combining copying and creation, and cross-cutting, is undoubtedly worthy of our emulation.
He Shaoji
He Shaoji's success in the art of writing is mainly based on three factors:
The first factor was that he made reasonable trade-offs and blends of the copied posters. He had worked very Yan Zhenqing's Contending for a Seat, and then carefully studied the seal and dissolved the seal. He took the breadth of the Yanshu, the tightness of the inside and the looseness of the outside and the front to show people, the clumsiness and roundness of the seal book, the lowering of the center of gravity of the book, and the stretching of the skimming, so as to organically graft the seal and the Yan body book, and achieved the "what body" that people can distinguish at a glance.
The second factor is that he studied the method of writing in previous generations and created the "back wrist method" on the basis of the "stirrup method". The "wrist return method" originally violated the physiological structure of human hands, and every time it was written, it would sweat. But He Shaoji showed unusual firmness, perseverance, perseverance. The formation of his unique style of writing cannot but be said to be inseparable from his unique writing style. The third factor was that he chose to use the long-fronted sheep. The long-fronted sheep absorbs more ink and can write many words in one stroke. Therefore, the first word full of thick ink must be ink, and the writing effect when the pen is dry and ink is dry, and the white is continuous. In this way, the whole text forms a strong contrast in ink color. The development and evolution of calligraphy, the role of utensils can not be underestimated.
Kang Youwei
As a politician, Kang Youwei advocated reform. Therefore, his political ideas and ideas more or less influenced his view of calligraphy and the practice of calligraphy creation. He was in the late Qing Dynasty, when calligraphy was prevalent, the world of books was weak, and the thesis was alienated to a worrying point. At this time, it was also the period when a large number of cultural relics and monuments were excavated. How to attach importance to the heritage of the ancient non-Thesis system, and save the stagnation of the book world with the ruggedness, strength and momentum of the stele has become a wise choice for visionary calligraphers.
Kang Youwei naturally became the leader of the ranks of calligraphers, and he honored the stele and demeaned it, vigorously advocated the cleverness of the stele and the artistic value of the stele, and caused a sensation in the book world with the theoretical writings of "Guangyi Zhou Shuangyi". Not only that, he guided his calligraphy practice with his own systematic theoretical propositions, and became a system, creating a new realm of stele writing. The achievements of calligraphers are ultimately convincing people by their works, but behind the calligraphy works are the ideas and concepts of calligraphers. In the history of Chinese calligraphy, calligraphy theory is often expressed as a creative essay, although it is two words, but it is to the point. Like Kang Youwei, calligraphy theory has a certain scale and system, and calligraphy practice and calligraphy theory closely echo, forming an interactive calligrapher, not too many in the history of calligraphy. The example of Mr. Kang Youwei tells us that calligraphy creation needs learning and the support of thinking.