Students showed | "Many Pagoda Monuments" Backbone Teacher Study Class Students: Gao Yun

Adhering to the concept of modern calligraphy teaching, the Sacred Hand Calligraphy Classroom Learning Class adopts the teaching mode of online video teaching guidance + offline system standard training, which breaks through the threshold of professional calligraphy learning and opens up a practical and efficient calligraphy learning path for the majority of calligraphy enthusiasts.

In the first section (about 3 years), there are the following four-body study classes, which can be registered: Yan Zhenqing's "Yan Qinli Monument", Ouyang Qing's "Jiucheng Palace Monument", Liu Gongquan's "Xuanmi Pagoda Stele", and Zhao Mengfu's "Bile Stele".

The second section consists of Yan Zhenqing's "Many Pagoda Tablets", Zhao Mengfu's "Thousand Character Text", Ouyang Inquiry's "Emperor Fu's Birthday Monument", Chu Suiliang's "Sacred Order of the Wild Goose Pagoda", and Wang Xizhi's Xiaokai's "Le Yi Theory".

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Gao Yun students assess homework

Theoretical assessment

First, talk about the similarities and differences between writing and calligraphy.

Some people say that calligraphy is different from writing, and some say that "real calligraphy is writing" How to correctly understand what calligraphy is? What is Writing? What are the differences and similarities between them? I actually love to write but I just can't write calligraphy, so let me give you a personal opinion on the relationship between the two.

Broadly speaking, calligraphy refers to the writing rules of written symbols. In other words, calligraphy refers to writing according to the characteristics of the text and its meaning, with its calligraphy, structure and chapters, so that it becomes a beautiful work of art. Chinese character calligraphy is an original expressive art of the Han people, known as: wordless poetry, lineless dance; pictureless painting, silent music and so on. Writing is writing, and synonyms are like writing, transcription, and transcription. In ancient times, there were writing officials, and the similarity between the two was that they were in accordance with a certain writing law, which was the standardization of the word, whether it was a cursive or a seal, people had to understand what this word was, and could not be scribbled, at least in line with the rules of knotting that everyone agreed. The difference between the two is that writing is more of a practical function, while calligraphy is more of an artistic category. In addition, calligraphy has its conventional particularity, such as some side can be displaced, like the shore character, the mountain head becomes the side of the mountain. There are also addition strokes or subtract strokes, such as the left side of the word diligence can be less horizontal: A horizontal can be added to the right side of the word, and there should be a jianzi next to the word, but the calligraphy can be used to go to the side. Writing as practical is not possible. It is a typo, the connection between the two should be, first by writing and then may rise to calligraphy, most of them are just writing, including some famous calligraphy, in fact, some are just the phenomenon of writing, that is, calligraphy is the artistic sublimation of writing. If you can't write, you certainly can't talk about calligraphy, and if you can write, you don't necessarily know calligraphy.

Why? Calligraphy pays attention to artistry, and the so-called calligraphy art is a social ideology that uses images to reflect reality but is more typical than reality. Art is a culture that uses some means or media to shape images and create atmospheres to reflect reality and pin emotions. Good art often has aesthetic or philosophical value, but it does not necessarily have entertainment at the mass level. Compared with science, art is inseparable from the expression of emotions. The artistry of calligraphy is actually to use the text as the carrier, to display the connotation of the written content in the way of writing art, from which not only appreciate the writing function and skill of the text, but also convey the spiritual essence of the connotation of the written text, at the same time, it makes people tireless and appreciateful. This requires the writer to have a strong ability to control the pen. Because calligraphy strokes are not allowed to be drawn, they must be completed in one stroke, or as light as gossamer but contained in them, or as heavy as steel bars, elastic but not clumsy, and the shape of the dot painting is rich in vivid and interesting images but does not lose the degree of writing, giving people visual appreciation and unlimited imagination. There is also the overall calligraphy to give a certain spiritual connotation, emotional expression, and unified with the text content, so the creator needs to conceive of what kind of book language to use, what kind of chapter layout, etc. to interpret, and can not let the book's personal emotions attached to it, of course, the spirit expressed by the text content is integrated with their own emotional emotions, and can be expressed in the style of the book they are good at, of course, it is very good, such as Wang Yi's Tianxia Yi yi book "Lan Ting Preface" and Yan Zhengqing's second line of the world's book "Sacrifice Nephew Manuscript" It is a portrayal of the unity of subjectivity and objectivity, so the calligraphy community has been a treasure for a long time. It may be generally thought that Yan Zhengqing's "Sacrifice Nephew Manuscript" is smeared and smeared, and the feeling is average, but when you taste it carefully, you will be impressed by its extremely sad and indignant emotions, regardless of the clumsiness of the pen and ink, and the words fluctuate with the mood of the calligrapher, which is purely the calligraphy of the spirit and the natural flow of the usual workmanship. The emotion between the pens throughout the passage is like a tidal wave, the calligraphy is magnificent, and the vertical pen is bold, in one go. The appreciation was very enjoyable.

Now, the Internet to see some of the "calligraphy" looks very good, but the style of the book and the spirit of the text content do not coincide, such a word is not really calligraphy, I can not figure it out, appreciate the calligraphy is to appreciate its overall beauty, line beauty, rhythmic beauty, rich and unified with the style of the book, not the painting is actually like a painting, see it exciting, but also worth tasting.

However, to say something off-topic, the handwriting analysis sample requirements are handwriting, do not pay attention to whether the writing is good or not, as long as the normalization of the body of the book can be written sincerely, especially in today's case of hard pen common use, calligraphy samples as an analysis should be particularly cautious, handwriting analysis is not appreciation, point is point, line is line. The key is to express the heart. That is to say, the handwriting is normal writing, do not consider the beauty and ugliness, I don't know what everyone thinks. Can communicate.

Second, why should we learn calligraphy directly to the classics?

To study the classics is to take the classics as a teacher. Most of the famous masters in the history of Chinese calligraphy are deeply influenced by the Confucian idea of respecting teachers, cherishing traditions and imitating the sages. Because those calligraphy classics are hard-won valuable knowledge, they must be read here. In the Ming and Qing dynasties, Wang Duo was "one day to post, one day to ask for a request, so as to meet, lifelong is not easy." "Even in the year he died at the age of 60, he never quit. Contemporary Qi Gong has also been on the verge of a post throughout his life, and he jokingly calls it like a singer must "hang his throat" every day.

For contemporary calligraphy lovers, why study calligraphy classics?

First, it is a historical responsibility to study the classics. Especially in the face of the chaos in the current book world and the prevalence of fake and inferior calligraphy, everyone should stand up, unite together, promote calligraphy, and do their duty for the revitalization and development of calligraphy. Like Zhang Zai, the great Confucian of the Northern Song Dynasty, everyone should have such a literati mind and feelings, and must have such a spirit of responsibility, that is, "establish a heart for heaven and earth, establish a destiny for the people, continue to study for the saints, and open up peace for all the worlds." At that time, Zhang Zai had this strong sense of mission to save Confucianism from imminent danger that he opened the precedent for the flourishing of Confucianism in the Song Dynasty. As today's calligraphy enthusiasts and calligraphers, they also shoulder the historical responsibility of inheriting and carrying forward China's fine traditions as they did in the past.

Secondly, learning the classics is a "return" to the spirit of calligraphy, and it is a way of "going home" ideologically. Heidegger believed that thought practiced "the pace of return" and that "even the road of return can lead us forward." Lao Tzu also said: "The movement of the opposite way." Of course, the "way back" of thought will not be a smooth road, let alone a golden light avenue, but a "forest road" that is inaccessible but fascinating. Contemporary people are eager to ride on trains, cars, planes, ships and even spaceships, rushing on the roads of modernization. This is like some people in the book world nowadays, who can't wait to abandon tradition, seek innovation and change, create their own personality, and become a family of their own. With such "rapid development", are we really getting closer and closer to the happy "paradise"? That may be wishful thinking. Heidegger's admonition deserves our attention: we hurry forward, expecting to get close to the target ahead, but when we look at it before we get closer, we find that it is more distant from us.

Finally, to study the classics is to learn from a teacher.

Not only for calligraphy, of course, there must be a method of learning, Chinese calligraphy since the Wei and Jin Dynasties have opened up the style of inheritance of teachers, but also emerged many calligraphy masters of the founding school, leaving many classic works. This is our teacher and the object of the Dharma. Zhuangzi said, "He who does what he does is a man has no flaws, but he is said to be an apprentice with man." Those who become superior to those who are compared to the ancients are disciples. In fact, we must not only "be disciples of the ancients" and be friends with the ancients, but also take the ancients as teachers, that is, take the ancient sages as teachers, humbly seek teachings, and accompany them all the time. Only in this way will our calligraphy art not become a source of water and a wood without a root. Many calligraphy enthusiasts and calligraphers write very mediocrely, neither radiant nor skilled, because they have not extracted the essence from the calligraphy classics of the past.

So, how do we learn the classics? I believe that the key is to be godly, persevering, and persevering for life. "Godliness" means solemn piety. This is as Pyrihu said in his poem, "Read the lines in the open book and be godly." That is to say, we must have a godly heart for the way of calligraphy, for the excellent traditional Chinese culture of 5,000 years, and for the rich history of calligraphy for more than 3,000 years. Whenever we read the post, it is like having a spiritual dialogue with the ancient sages. It's a spiritual back-and-forth exchange. Only with such a sincere and solemn heart can you not be arrogant and self-effacing, and can you read the post as Sun Guoting asked, "Those who observe it are still fine, and those who imitate it are similar", so that you can learn effectively.

Dong Qichang of the Ming Dynasty once summed up his experience of learning calligraphy: "When Yu Eighteen learned the Jinren Book, he no longer saw Zhao Wuxing (赵孟頫), and now that he is old, he knows that Zhao Wuxing is out of reach!" "When I was young, I was frantic and empty-eyed, and when I was old, I knew that I had not learned enough, and I knew the preciousness of my predecessors. This is the mental journey of many of us today when we learn calligraphy.