Original ink calligraphy network
For arts such as painting and calligraphy, it is difficult for contemporary people to surpass the ancients. The reason why it is difficult to surpass is the lack of "brushwork" and the lack of cultural accomplishment. If cultural accomplishment can be made up for through the day after tomorrow, the level of "brushwork" is not so easy to pass. It is no exaggeration to say that brushwork is the "core" of calligraphy, and the structure, chapter, and ink method can change from time to time, but it is immutable.
The lack of modern penmanship is manifested in two aspects, one is that when writing, it is often straightforward, the action is single, and the strokes are flake-like, without the kind of twists and turns, and the sense of pleasure is varied;
Therefore, if we want to learn the most authentic calligraphy and learn the most orthodox brushwork, we still have to start with the ancients and copy their works in detail. Whether it is regular script, line script or cursive script, taking "Erwang", Ouyang Xun, Yan Zhenqing, and Liu Gongquan as teachers is in line with the "law is on the top", but we must also note that their works are still too difficult for beginners, and it is not easy to get started. Therefore, industry insiders recommend starting with Zhao Mengfu's words.
Zhao's calligraphy uses delicate brushes, rich and rigorous brushwork, and many complex pretentious techniques have been streamlined, which is relatively easy to learn and produces quick results. On the other hand, Zhao Mengfu perfectly balances the beauty and practicality of calligraphy, which can be described as both elegant and popular.
Zhao Mengfu has passed down a lot of calligraphy, and the "Amitabha Sutra" is his last masterpiece, which can be regarded as the perfect end to his calligraphy career. This work was written in the second year of Zhizhi (1322), paper album, 28 cm long, 11.1 cm wide, a total of 82 lines, more than 1900 words, the size of the word diameter is about 2 cm.
In his later years, Zhao Mengfu was keen to copy scriptures, especially after the death of his wife Guansheng, he was even more obsessed with it, in order to seek psychological comfort, he completed the creation with the most pious attitude and the most skillful pen, and these works represent the highest level of calligraphy in his later years. Unfortunately, most of them have been lost, this work is now in the National Palace in Taipei, is one of the "treasures of the museum", because it is too precious and has never been released to the public, only on the Internet can see its ultra-clear large picture.
Zhao Mengfu's regular script is taken from Wang Xianzhi, Zhong Shaojing and other famous artists, and this work has a bit of "scripture writing" style. The tip of the stroke is in and out of obtuse, and the action of rubbing, lifting and pressing, and adjusting the front after the pen is dropped, and the middle and side of the pen are used together, and the strokes are vigorous and colorful, and the pen is smoothly connected. The combination of movement and static, the left and right heights are staggered, and the upper and lower are free. Throughout the volume, there is no failure, and it is full of solemnity.
This scripture is an important reference for us to learn the regular script of the ancients, the strokes, knots, and ink methods are impeccable, and the law is strict, and a word can be picked out at will, and modern people are afraid that they will not be able to catch up with it for a lifetime, and it is worth copying and learning.