The way of calligraphy is based on diligence, but diligence is premised on love, and there is no diligence without love.
"The wine tasting is very different, and there is no place for the study of books." Famous monuments and posters are treasures that will never be exhausted. Later scholars can choose what they love to learn, step by step, from the ancient to the search, do not heavy monuments and light posts, do not raise posts and suppress monuments.
When studying books, we should study the Fa, and when we study the Fa, we should enter from ancient times, and this truth seems to be recognized by everyone as the source of the flow, and there is no doubt about it. What we are talking about starting from ancient times is to emphasize the use of famous monuments and famous posters as the law for deep study, and not all of them can be used as the source of the law, such as small epitaphs, small statues, bricks of prisoners, bamboo janes, wooden tablets, and general scripture writing, etc. We can only take their meanings and understand their natural interests, and cannot be practiced.
There is a source of learning, we should focus on the source of learning, the flow of ancestors can be both, but can not put the cart before the horse. As far as epigraphy is concerned, in the middle of the Qing Dynasty, the study of steles flourished, creating many great masters such as Deng Shiru, Zhang Yuzhao, Zhao Zhiqian, Kang Youwei, etc., whose success was also taken from the source, and they became their own genres and became sects. We should also be like them, from the source, and the people who have done it will open up a new stream. If the Xuewei Stele only takes Zhao Zhiqian or Kang Youwei, and the XueliShu takes Deng Shiru as the law, giving up its source and its flow, it is not a superior view.
In recent years, many young people from all over the world have asked me how a picture is good, and this sentence seems to be too simple to ask, but it is difficult to say clearly for a while. But I always feel that from the visual and inner reaction can also be simply explained, that is, a work is more comfortable and more attractive when viewing it, then the work has weight, because its various factors have reached harmony.
The study book should have an opinion, but it is not stubborn, and the study book should be widely consulted and solicited for advice, and the two are not contradictory.
Whether studying books or writing books, it is most important to always maintain a calm state of mind, not to be swayed by fame and fortune. In particular, today's young people must not be happy to participate in a major exhibition or win an award, nor should they be upset about losing the election, let alone chase the wind.
Recalling that my own journey of learning books started from Tang Kai, I felt that this way was correct and feasible, so I would teach students in this way in the future, so if I started with other books, could I? Now I've also changed my previous view, not too absolutely. According to the personal conditions, you can start from anywhere, but we must understand the truth that Sun Qianli said about first being peaceful, then dangerous, then being peaceful, and finally penetrating, it is based on natural principles. Good characters are also like the natural beauty of people, or like everyone's boudoir, or like a village girl, or like a healthy general, or like an old farmer, they all have different natural beauty. Love the heart of beauty, everyone has it, dress up really should, but still do not overdo it as well.
I love watching football and often applauding wonderful goals, and its momentary success was due to the unity of many contradictory opposites. Its virtual reality, rigidity, softness, extension and ups and downs, the delicate and changeable haunting of the technique and many other factors can also be said to be the sublimation of "technology into the Tao".
I wrote the North Monument, and I have been working stupidly on the "Dragon Gate Statue" and "Yunfeng Mountain" for many years, especially on the Square Pen Dragon Gate. There are many controversies between knives and pens: the ancients have theories, the present people have theories, the knives and pens are half, and even the formation of the square pen is purely the work of the engraver, which I have a different opinion. The square pen Wei stele of the world has its obvious engraving and knife axe component, which cannot be removed, but if you want to get the square, you must get the thickness to be able to dominate, the form is easy to get, the texture is difficult to find, the engraver can only get its appearance, can not get its quality, can not get its thickness, can not get its god. If the Weibei stone carving is the work of the carver, then how to explain the Round Pen Stone Carving of Yunfeng Mountain?
Take the ancient vertically, take the present horizontally, take the ancient method, and take the present people's wishes. The square pen and the round pen are external forms, and the square and the circle must not be opposed in isolation, and the square and the circle are dialectical unity.
Writing posts should be timeless, writing tablets should be simple, posts should be heavy rhymes, stele bones, and learning tablets and posts can learn from each other, but they cannot be inverted. For example, the Wei stele character is a kind of calligraphy from the ancient meaning, strong and colorful, humble to see the beauty, it is just like the rugged mountain stone, pine and cypress, to the simple and humble nature as the shang, if the Yanmei pen to write the Wei stele is a wrong way, is a detour, the multiplication of things and fruitless.
I am not in favor of separating books from paintings, painting should be intentional, writing books should also be intentions, painting should be entered by books, and books should be drawn into paintings. Calligraphy and painting have the same origin and different streams.
If the writing of the book can come from the ancients, but also be different from the ancients, and have a unique face, and show spirituality in plainness, it is invaluable, and it should become a goal for us scholars.
The first element of the calligraphy is "movement in stillness", and no movement in silence is an art word, and cursive writing is the opposite, and it is necessary to "move in stillness".
The form of a work is the shell, the temperament is the soul, the beginning of the study of the book should be in the front, the temperament is in the back, and after mastering the form, the temperament must be in the front.
The seal is an ancient clumsy thing, it is beautiful to be clumsy, it is the Great Han of Shandong; the cursive writing is everyone's boudoir. The soul of the word is the ink line, and the beauty of the knot body is the second.
There is no perfect local beauty, there is no complete overall beauty, the upper pen is as poor as, the next pen is perfect, the first stroke is unknown, and then it is adjusted at any time, and finally achieve harmony.
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