"How can I write Ouyang Inquiry's font well?" Thank you for the invitation and for your questions. The characters of Ouyang Inquiry have been believed to be the crown of danger, so to learn the calligraphy of Ouyang Inquiry, we must grasp the characteristics of danger.
However, while we saw that Ouyang Qian's words had a dangerous side, we had not yet seen his strict side. Ouyang Qian's calligraphy is the first rigorous calligraphy master in Tang Kai, so his calligraphy has reached an extremely strict degree from structure to brushwork. In the strict structure and brushwork of Ouyang Qing, it is not a simple problem of "strictness" and "secret", but the changes in his brushwork are also very rich.
I often mention that the 33 "zigzags" in Ouyang's "Jiucheng Palace" have 33 different ways of writing. This is enough to show that Ouyang Que is in strictness, and he still has rich artistic changes and artistic vitality. It is not that many of us today learn the calligraphy of Ouyang Inquiry, and write the calligraphy of Ouyang Inquiry very deadly, for example, if you write a "zigzag", if you repeat it three times in a calligraphy work, the three "zigzag" characters will be written exactly the same, which is the difference between you and the master of Ouyang Inquiry.
In fact, from the general common sense, we all know that when writing calligraphy works, we should try to avoid the same words and not write exactly the same, which is an important sign that calligraphy avoids rigidity, and Ouyang Qian's calligraphy is to avoid rigidity and homogeneity. Therefore, if you look at Ouyang Qian's calligraphy works, there are many of his works, and none of them are written exactly the same. From the big point of view, Ouyang Qian's calligraphy has undergone great changes, and from a small point of view, a word and a word are written differently, which is his ability. For example, the word "Dan" appears three times in the "JiuchengGong", none of the three Dan characters are exactly the same, and one of the Dan characters is not checked.
So how do we learn the spirit of Ouyang Yuan's calligraphy? I think that studying Ouyang Qian's calligraphy is no different from learning any calligraphy.
When we study calligraphy, we have two goals and tasks, one is to grasp its "shape" in hand, which is the shape of the font; the other is to grasp his "radiance" in the hand, that is, the god of the font. We learn calligraphy with these two goals.
The first goal of our beginners in calligraphy is to learn the "shape" of calligraphy. This is the basis of our learning of the basics of calligraphy, we must remember that if calligraphy does not have a form, the spirit will disappear, just like one of our ancients said in an idiom, the skin will not be hairy.
The Southern Dynasty scholar Wang Shengqian 's "Pen Yi Zan", a calligraphy theory work, mentions a famous saying that everyone is very familiar with: "The wonderful way of the book is superior, the spirit is superior, the form and quality are secondary, and the one who is at the same time can be reduced to the ancients." "Of course, we can't say that because the spirit is the first to learn the spirit, and then to learn the form, this is the inversion of the end."
The Southern Qi general Wang Shengqian (426-485) was a descendant of Wang Xizhi, and what he said in the "Pen Yi Zan" that the god of form "the one who combines it can be shao to the ancients" is what we later call calligraphy and painting to have both form and god, in order to spread the fine traditions of the ancients and carry them forward.
However, the form of God does not mean that there is a God first and then there is a form, but that there is a God after the form, and God is highly unified with God on the basis of "form".
The correct calligraphy learning method is first of all to establish a perfect "physical quality" system, without which there is no basis for producing brilliance.
A good calligraphy, with a good shape is not the same as having a good spirit, but with a good shape, it is absolutely necessary to have a good spirit.
We have many calligraphers, whose calligraphy quality is not bad, but lacks brilliance, and Ouyang Qian's calligraphy is an excellent artistic calligraphy work with both form and brilliance. He is also a master of creating the unity of form and spirit. Therefore, we must understand the unity of form and god in Ouyang Qian's calligraphy.
So how do we learn Ouyang Inquiry's European characters?
My way of learning is that we should learn calligraphy in a way that can scientifically reveal the form and brilliance of calligraphy, so that we can easily learn European characters well, not only European characters are easy to learn well, but other characters can also be learned well.
That's why we want to have a scientific way of learning calligraphy.
I think, as I said to you at the beginning, there is no special difference between Ouyang's calligraphy learning and any other calligrapher's learning method.
Because we look at the overall calligraphy learning method, we are all learning the strokes and structure of calligraphy, then the stroke is the brushwork, the structure is the overall arrangement of a word to the stroke, if the two problems of brushwork and structure are solved, then the problem of the initial form of calligraphy is solved.
Different learning methods have different paths, and one of the paths I personally share is to learn calligraphy according to the "four methods and three strokes", so that it is easy to learn the form and spirit at once.
First of all, when we say that the "four laws" refer to "starting the pen, writing the pen, closing the pen, and picking up the pen", this is called the "four laws". Among them, "picking up the pen" may feel a little mysterious, but in fact, it is not mysterious. We mean that after the completion of the previous stroke, the next stroke we have to pay attention to is the connection point and echo relationship with the previous stroke, we must pay attention to it This is called "picking up the pen".
We all know that we have to start a word, a stroke, a stroke, and at the same time a stroke and a stroke.
If we want to write a stroke well, we must pay attention to the beginning of the pen, the line of the pen, and the end of the pen, which is a complete three links of a stroke.
A word is a combination of strokes and strokes. So where is the articulation point of the combination between each stroke? This is the key to being very legal and artistic, so we call it "picking up the pen", and we must experience and learn it as a calligraphic law.
We learn calligraphy through a large number of times, no matter which font he learns, we find that if this calligrapher does not learn well, then he must first have some problems in any link of the "four laws", these problems are not very legal, so the quality of calligraphy is not good enough, and the quality of learning is not good enough.
Therefore, when we study calligraphy, we must master the "four laws". This is the foundation of our key foundation for learning calligraphy.
If we learn the "Four Laws" well, I think the basic problem of learning calligraphy will be basically solved.
Therefore, if you want to learn Ouyang Inquiry's calligraphy well, you must also follow the starting, line, and closing of Ouyang Inquiry's calligraphy stroke structure: pick up the pen and study seriously, if you study in this way, I don't think there is any problem.
The main content of the "three strokes" in our so-called "four methods and three strokes" is "penmanship, penmanship, and gesture".
The specific content of the penmanship is to start the pen, line the pen, close the pen, and pick up the pen.
The content of the pen meaning mainly refers to the peculiar smell tendency of the calligrapher's pen on the poster, etc., for example, Ouyang Brother's calligraphy is known for its square pen, each of his strokes is basically angular, or most of the strokes are edged and angled, in Ouyang Inquiry's brushwork, the taste of the lishu, the taste of the seal book is almost very small, this is his calligraphy and Yan Zhenqing's calligraphy is completely different, in Yan Zhenqing's calligraphy, the metaphor of lishu and seal book is very strong, and Ouyang inquiry's calligraphy does not have such a thick seal and lishu penmanship, Its penmanship has less strokes and is not so thick. Therefore, we must pay attention to understanding this meaning of his writing.
So what is the gesture? The pen is our main or refers to the spatial position of the stroke, its direction to the left or to the right, whether it is horizontal or vertical, etc., of course, the gesture in addition to the results written on the poster we see, but also related to the written test we use the pen, but the most important thing is that we are still based on the stroke results.
If we learn calligraphy and can achieve its penmanship, its penmanship, and its gestures, then there will be no problem in learning Ouyang Inquiry calligraphy to achieve the purpose of both gods and gods.
As for which stroke we are pursuing, how to write? We'll just write according to the strokes on the posters.
Every stroke on the poster, how its starting pen is, we look for a way to achieve this starting effect to write; what effect is its line pen, we find this method of using the pen to achieve this effect; what effect is its closing pen, we achieve this effect; what effect does his pen take, we pursue this effect of it. so. In the case of our accurate completion of the "strokes, strokes, and gestures" on the posters, this in itself has reached both form and god.
If we have also done it, the "four methods" of starting, writing, closing, and receiving, but we have not fully reached the penmanship, penmanship, and gesture, how can we find out where the error lies? Then we have to go back and see, our starting pen is right? Is the line right? Is it right to close the pen? Is it right to pick up the pen? It's a self-cycle of mirroring each other, and no matter which method you look for in the judicial evasion, you can find the deficiencies in our learning, and you can find a way to correct it, because you can only find a solution to the problem if you find the problem.
We have a basic threshold for learning calligraphy, that is, the penmanship must be accurate, that is, we can accurately express the starting pen, the line of writing, the pen, if we have such a basic skill, any problems we have will be corrected in time. Because if we master the penmanship very well, we also have a good grasp of the pen, the line of writing, and the pen collection, then if there is a problem, it is not a problem of receiving the pen, or a problem of penmanship and gestures, and in the case of the basic penmanship, the pen, the pen, and the pen are solved well, it is mainly these three problems.
Therefore, we highly recommend the "four methods and three pens" as a method of learning calligraphy, which is not only adapted to Ouyang Qian's calligraphy, but also adapts to all calligraphy, so I am happy to recommend this method to you to communicate with you.
If you have any comments, you are welcome to correct your criticism and look forward to your comments.