Calligraphy Post 2008-06-08 18:52 Post is an effective means of learning the calligraphy of predecessors, and it is an indispensable bridge to creative freedom. Only by laying a solid foundation at the post-writing stage and absorbing the experience and essence of previous creations can it be possible to create good works that "were not good in the past, but are not good now". Although most people know the necessity of posting, they may not have a deep understanding of posting itself. There are differences in realms in creation, and there are also differences in realms in writing. The level of writing will affect the level of future creation to a certain extent. This point is often overlooked by calligraphy enthusiasts.
Roughly speaking, the realm of Lin Tie can be divided into three levels: "eye-reaching", "hand-reaching" and "heart-reaching". Among them, the last two levels are areas where current understanding is relatively vague; if there is no clear understanding of this, it will inevitably affect the level of future creation.
Let’s talk about “seeing” first. This level is what Sun Guoting of the Tang Dynasty called "the one who observes is still the best". The brushstrokes, structure, and composition of the Chinese characters in Fa Tie must be carefully scrutinized. It is necessary to grasp the shape of the strokes statically and understand the correspondence between the stipples dynamically. Jiang Kui of the Southern Song Dynasty said in "Xu Shu Pu": "The characters have hidden fronts and come out, and they are full of charm. It is better to have the beginning and the end of the words corresponding, and the top and bottom of the words. The scholars of later generations just memorized and wrote the shapes according to their memory, but they could not contain it. , are all fragmented but not connected. "In terms of structure, we should not only see the arrangement of the lines in the space, but also pay attention to the distribution of the white space. Qing Da Shigeguang's "Shu Raf" said: "The measurement of black is divided, and the virtual purity of white is cloth." This means that we need to understand the principle of spatial distribution. In terms of the overall composition, attention should be paid to factors such as the spacing between characters, the correct relationship, and the density and density of the original text. The ancients emphasized that the composition should be "variable but consistent", "like the method of weaving brocade, the flowers and the ground must be appropriate." The main solution at this stage is to improve the observation ability and be able to see the subtleties of the dharma posts. Many casual practitioners have no choice but to write in broad strokes. On the whole, it seems that they are not far from the original text, but they miss a lot in the details. This is no different from copying a book. The beauty of the predecessors is often found in every stroke, or even in a small movement, just like the beauty of a beautiful woman is often found in a frown or a frown. That's why Wang Sengqian said: "If you turn your back slightly, there will be no trace of life and death." Jiang Kui said: "When you are copying, if the slightest distortion is found, your expression will be different, which is important for detail." At this time, the eyes should be like magnifying glasses, which can draw the attention of ordinary people. Not enough detail to zoom in. Whether you can "see it with your eyes" determines whether you can "see it with your hands". Therefore, practitioners cannot follow it blindly and mechanically. They should read more posts and observe more.
The state of "hands-on" is the most basic link in the process of posting. Sun Guoting said: "The heart never tires of refinement, and the hand never tires of familiarity." The so-called "hand arrives" means not only that the appearance is similar, but also that the spirit is similar. To achieve a similar situation, the writing must naturally be slow, but to write with spirit, it is very Being proficient and quick (relatively speaking) is not a must. And the two are a pair of contradictions. You must be proficient in order to be slow and slow. Therefore, the ancients said: "Slowness is used to gain beauty, and speed is used to gain strength. You must be able to be fast first, and then you can be late. If you cannot be fast and specialize in doing things, you will have no spirit; if you specialize in doing things quickly, you will lose momentum." In boxing science In the battle, "getting it" is extremely critical. When the two sides are fighting, once you get an opportunity, you must be quick to hit the enemy, otherwise the opportunity will be lost. This illustrates the importance of technical accuracy. In fact, the state of "getting it at your fingertips" can be said to be difficult for a person who studies calligraphy. Among the many practitioners, not many can actually do this. There are two main reasons: first, at the beginning of practice, I was unable to achieve the state of "seeing with my eyes"; second, my mentality was impetuous and I had not yet put in the effort to copy. This is the same as practicing Tai Chi martial arts. If you can't even achieve proficiency and accuracy in boxing, how can you talk about actual combat? At present, many practitioners have a rather vague understanding of the maxim "What is imitated is valuable like", and the meaning contained in the word "like" is far from being as simple as imagined.
About the realm of "heart-to-heart" is the main purpose of this article. In the eyes of many people, when Lin Tie reaches the state of "hands-on", it is similar in form and spirit, and it should be regarded as meeting the final requirements of Lin Tie. But on the other hand, when many contemporary calligraphy creators mention their experience of writing calligraphy, they say that they have read many calligraphy items, and they have read a certain calligraphy item many times, or even a hundred times. But in the works they created, it is difficult to see how much essence they absorbed from them. The two most common situations are that some writers mention that they have written "Lanting Preface" and other "Two Wangs" posts for many years, but there is no trace of the "Two Wangs" charm in their works.
If you don't want to absorb the nutrients of the "Two Kings" from the creative motive, then of course it's a different matter; but since you have spent time to encounter the "Two Kings", why don't you even have the intention to catch the wind and shadow? Another situation is that although some of the formal factors learned are reflected in the creation, it is too stylized and lacks flexibility, let alone the word "spirit". The above questions made the author start to think about the "heartfelt" issues about the post. Although "hands-on" indicates that the post has reached a state of proficiency and accuracy, in fact, it is still at a technical level and cannot truly capture the rhythm of life deep in the soul of the author of the original post. The so-called "similarity in form and spirit" is nothing more than a deep understanding of the external form of pen and ink. Although it is rare to achieve this step, if you want to have a profound impact on the spiritual level of creation, you must be "mindful" - —To touch the heartstrings that the predecessors used to tug at the soul when they waved their hair. Just like the Sixth Patriarch Huineng said to Bodhidharma, he has direct access to the nature of the mind, and then he can achieve enlightenment. Wang Sengqian said in "Praise to the Intention of Writing": "The wonderful way of calligraphy is to have the spirit first, followed by the form and quality. Only those who have both can be introduced to the ancients... It will make the heart forget about the pen, the hand forget about the book, and the heart will be enlightened." The highest state of creation is "the heart forgets the pen, the hand forgets the book, and the heart and hand express the emotion." So the highest state of copying should be the same. To achieve this, you need to experience and explore more on the spiritual level. When it comes to "Lanting Preface" specifically, we should not just pursue its formal resemblance, but should fully understand the social and cultural background of the Wei and Jin Dynasties and Wang Xizhi's own ideological personality, read the content of "Lanting" thoroughly, and understand the thoughts and feelings in this article. Transplant it into the depths of your own soul, deeply taste the spiritual "medicinal wine" unique to the scholars of the Wei and Jin Dynasties, and try to let the aftertaste of this wine penetrate into your historical thoughts. When you seem to have heard Wang Xizhi and others' chants about life, perhaps you will no longer stick to the fixed form of a certain stroke or painting in "Lanting", and reach a high state of smooth mind and hand. Zhang Huaiguan of the Tang Dynasty said in the preface to "Book Break": "If you have thought about sages for thousands of years, read the traces on the slips, made plans in the face, acted with brilliance, and spoken with deep insights, so that there will be no hidden things for a hundred generations, this is admirable. And When a husband is in the same place, he can know thousands of miles, have great ambitions, and have a spiritual spirit. He is so happy to see the traces, and it is so happy. "Although this is a discussion of the function of calligraphy, it can be used as a postscript to reach the highest level. Specific requirements. At the same time, this is enough to show that Fa is not just a form of technique, but its cultural connotation is broad and profound. This naturally requires that when we learn from the traditions of our predecessors, we must transcend the technical level and enter the realm of cultural spirit to understand it. The so-called "heart to heart" means to highlight this cultural significance in the post.
After reaching the state of "heart-to-heart", I believe that people will be able to balance both sides in their future creations, and write excellent works that are both rich in the flavor of the times and profound in tradition
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This is what Chen Zhongkang said in his post
1. What is the copying process? This is a big problem, and it is difficult to solve without some psychology of copying. It is necessary to investigate the copying process. I think the process is like this:
First, (starting point) object-seeing (observation)-experience-psychological transmission-hand reflection-implementation on paper
Second, comparison - error correction - psychological experience again - strengthening memory (end point)
Third, reincarnation again, (countless times...
< p> This is a process of countless "trials and errors--corrections", and no copy can be 100% close to the original. It can be said that the true image lies in the ideal. p> The greatest significance of copying is to achieve a writing state and psychological state close to that of the ancients by accurately repeating their writing. This is where the depth of understanding of the ancients lies.Therefore, if you look at it this way, the verisimilitude of the form is very important. It is a necessary link. Without realistic imitation of the writing styles, it is impossible to experience the writing situations and mental states of the ancients. It is also considered necessary, at least as a means of testing the writer's ability.
"God" does not exist. Any god is attached to the material foundation - there is no god. The form is not a copy of the image, but there is a copy of the spirit that is good even if the form is not similar (successful Yi Lin in history has done this). According to the analysis, the spirit with different effects corresponds to the form. "Not similar" is just a misunderstanding on the part of the reader, a psychological identification.
2. The shape does not refer to the surface, it is a zombie, and the shape has flesh, tendons, blood, etc. If something is touched well, it should come out, and God will be born accordingly. Equating position with appearance is a way of description used by the ancients. It has its meaning, but it may not be accurate.
3. The dual concept of "form-spirit" generally used in copying can only aim at a vague general direction. It is a description of calligraphy determined by the Chinese way of thinking. Sometimes it works, but sometimes I am misled by this concept. It is due to the incompetence of language and there is no other way. In the specific application of this pair of concepts, a lot of content needs to be added to make them complete.
4. The best things of the ancients or traditions are condensed in classic calligraphy. No matter it is in the past, present or future, the good things of human spiritual life are there. Modern people are good at exaggerating certain feelings, thinking that they are the modern spirit, and worshiping it. They engage in some artistic rebellions, which indeed reflect the modern spirit, but whether the meaning and value of this modern spirit can withstand the test of time is unclear. There is a problem. Human beings are small, and their true value of respect may not be much, and this value may not exist now or in the future, but may have existed before. Therefore, in a sense, our respect for the ancients is a return to the true meaning of human beings and a kind of religious worship. As for other questions such as creativity, it becomes meaningless.
5. The starting point of the process or study history of creating a calligraphy master is definitely daily writing, and the middle is the accumulation of technical skills in daily writing. Finally, daily writing reaches the high artistic level, which is what the calligraphy masters of the past dynasties have achieved. level.
6. The question now is how to achieve that level? Copying is probably the only way to solve this problem in current calligraphy activities. (I don’t know if the ancients thought this way, but the problem situations of the ancients’ copying are definitely different from what we face, and the problem situations of each era are also different. It would be very meaningful to do some research on the problems of the ancients’ copying.) So what? Which method of copying is most effective? I think this is our focus.
After twenty years of teaching accumulation, Gome has gradually developed a set of effective methods. Anyone who studies at Gome will be integrated into this technical context. Maybe it’s because it has so many talented people that people admire it. Practice also proves that a few years of studying in the United States is worth decades of studying in society. But once anything develops into a pattern, it will gradually reveal bad tendencies. Gome now seems to give people the feeling that it is increasingly prosperous in using that assembly line to cultivate more and more writing tools. Individuality is increasingly giving way to individuality (mainly referring to the erosion of the uniqueness of learning methods), which may be the result of anything within the system. Academic schools in history eventually moved from revolution to conservatism and rigidity.
7. I don’t know whether a foreigner sees form or spirit. But the form of calligraphy comes from a kind of beauty and psychological isomorphism that is in harmony with the human heart, and the classics of the past are the accumulation result of this kind of thing. It is also the source and potential standard for measuring your style.
8. Okay, let’s talk about technology and rhythm. It's just a matter of speed, which is an extremely important link in whether the shape is accurate, and most people don't pay attention to it. When it comes to copying, it all depends on what you are trying to do. It will never be the same. Treat it individually and choose according to your temperament. Generally speaking, when comparing speed when I was a teenager, the faster the better. Only speed can reflect liveliness (that is, the brain is easy to use and the hands are obedient). The standard is to complete the most difficult movements in the shortest time. If you want to have fun training this, of course you should be able to do it. slow. As you get older, it becomes more difficult to slow down. I doubt that people who cannot write fast when they are young will write slowly when they are old, and I also doubt that people who still write fast when they are old will write well. I wonder if you agree?
9. Regarding the issue of verisimilitude in copying. No one doubts the general requirement of physical resemblance. Because people are accustomed to thinking in terms of dualisms such as "inheritance = innovation", "ancient - modern", ancients - self, etc., they may always reflect on the degree of verisimilitude. What is considered a copy, and what is the standard? ? The answer will be different for each person. For example, other people think that Weng Zhifei's copying is very ancient, and they doubt his creation, and worry that if he continues to be too ancient, he will be a slave and will not be able to find himself. But he himself thinks that it is still in the basic stage. , still far from it. This difference is very interesting. 10. The reason why I attach great importance to Weng Zhifei is because of his unique way of thinking and feeling.
Moreover, he has gone more thoroughly than others on the road to ancient times. This does not only refer to his calligraphy, but his entire person - his mood and state. This starts from his conscious rejection of certain modern things. can be seen in . The reason why he is more thorough than others is that he dares to resolutely extinguish his own fire and put it to death to survive. Entering ancient times has become a matter of self-discipline for him. Others are afraid of losing themselves, but he is afraid of having himself. He never pays attention to the questions that ordinary people think about. These questions may seem meaningless to him, and maybe he thinks more clearly than anyone else. His focus is simple: learn from Zhao Ziang, write more regular script, pick up a good pen, and find some suitable tools. These problems, which are the simplest, most basic, and most general in the eyes of ordinary people, are serious and fundamental problems in his eyes. And he can continue to deepen these problems.
11. The effect of copying depends on understanding and the degree of psychological experience of the model.
There is a psychological screening problem in psychological experience. When people face a model, they always pay attention to certain aspects and ignore other aspects. Always see or choose what you are willing to accept. Visual discovery must go through psychological filtering, which is screening.
Everyone will have psychological screening problems, so everyone will have limitations when copying. Good copying should overcome information overlooked through mental screening. There are too many cases of "turning a blind eye" in copying.
Ignored information must be repeatedly tested and corrected by the sensory system, that is, cultivating "corrected eyes". It’s not surprising that many people don’t understand things well and don’t know how to see (observe). They even feel complacent about how things are in a mess. It’s just because they haven’t trained their “corrective eyes.” We know very little about how the psychological camera obscura of the copying problem operates. Gao Huimin
△Copying is the most basic and preliminary method of learning calligraphy and the only way to climb to the top.
△"Lin" and "Copy" originally have two meanings: "Lin" means "to write against each other", and "Copy" means "to describe with a blindfold on". Both methods are effective for beginners. People often don’t pay much attention to the latter. In fact, if you really try it, you will find that the effect may be more obvious than the former.
△The object to be copied (copybook) can be designated by the teacher, but it is best to choose it yourself. If you like it and start to study it, it can be said to be a kind of enjoyment; forcing yourself to learn something that you have no interest in, no matter how important and correct it is, is tantamount to a kind of labor. If you are dissatisfied with your handwriting and want to improve it, but you can't find a copybook that arouses enthusiasm and interest despite all your efforts, then it's best for you to just do something that interests you. matter.
△Copying is not copying the whole article, and cannot be attacked across the board; it is tracing embroidery, which must be broken down individually. A word is a battle. Whether it is the whole or part of it, it needs to be carefully considered and treated with caution.
△Copying is to deepen the impression of the brain through the drawing of the hand; through the movement of the hands, eyes and brain, the beautiful image is engraved in one's heart.
△The key is not in quantity, but in getting something every time you try it. Any time you don't move your heart, that time is a waste of time.
△When copying, you must focus on the image, which is one of the main goals of copying. Famous calligraphers of past dynasties have left many imitation works, some of which do not look completely realistic and often have the shadow of the calligrapher himself. Beginners should not use this method. The current task is to understand and digest the calligraphy images created by others through copying. The degree of similarity between the temporary work and the original work also reflects the degree of your understanding and mastery.
△When art reaches an advanced stage, it can only be felt and comprehended, and cannot be explained by any formula. But before that, it is still necessary to summarize some basic principles and mechanical laws through copying.
△From a formal point of view, copying is to use your own handwriting to write other people's words; from a fundamental point of view, this is really an excellent means of training the ability to perceive images. The more realistic the writing is, the more thorough the thinking is; the more detailed the observation, the more sensitive the perception. If two characters are placed slightly different, they can be distinguished at a glance. Such sensitive eyesight should be a basic quality that every calligrapher must possess.
△Copying is a kind of thinking. What is the problem? Which sum, which part, and which place is causing trouble? What are your common mistakes? Find the crux, grasp the key points, and analyze from multiple angles.
△Copying is a kind of comparison.
The words on the copybook and the words written by yourself are the two sides to be compared. The direction, length, straightness, position of the strokes, the relationship between the parts, the overall feeling, and the local shape should be dissected and compared bit by bit.
△Copying is a kind of memory. Now that it seems like it, we still need to summarize it. It didn't look like it before, that was because of something; later it got better, because it grasped some of the main contradictions. In this way, you can grasp the basic skeleton of a word, then consolidate it repeatedly and remember it in your heart.
△For pen calligraphy, the focus of copying is the structure of the calligraphy, and there is no need to spend too much effort on using the pen. Paying attention to both the structure and the use of pens, it is good to be able to learn the subject at once; but in practice, the result is often interference with each other, focusing on one and losing sight of the other.
△Learn a few words every day and be able to understand and remember them thoroughly. This kind of progress should be satisfactory. If you persist for half a year, in terms of understanding, you should be able to basically solve the problem. Of course, in order to be proficient, fluent, and re-creative, we must consolidate, develop, and work hard.
This article is selected from the third issue of "Chinese Fountain Pen Calligraphy" in 1985 (the fourth issue in total)
Note: Several copying examples cited at the end of the article are omitted.
Reposted in: Chinese Calligraphy Home
Three Ways to Read Posts: Appreciation·Analysis·Memory
Author: Wang Guojin
Source: " "Calligraphy Herald"
"It is especially valuable to learn to calligraphy and read more. If you read more, you will be able to write elegantly." (Li Ruiqing's "Jade Plum Blossoms·Book Break" of the Qing Dynasty). Of course, inscriptions also belong to the category of books. For example, the handed down calligraphy texts such as Wang Xizhi's "Preface to the Orchid Pavilion", Yan Zhenqing's "Manuscript of a Nephew Memorial", and Su Shi's "Red Cliff Ode" are not only immortal works of calligraphy art, but also good articles that have been passed down through the ages.
It is important to study books and practice calligraphy, but reading posts can improve our artistic analysis, appreciation and cultivation. Jiang Ji of the Qing Dynasty also said in "Continued Calligraphy Theory: Lingu": "This can cultivate your temperament and inspire your ambition. If you never think about this and only seek form, it will not be enough to discuss calligraphy." Of course, calligraphers " "Reading Tie" is not only to appreciate its literary talent, but more importantly, to observe its composition, brushwork and artistic conception from the perspective of calligraphy.
Since reading posts is so important, how to read posts? The author has three simple methods for learning calligraphy:
Appreciation style
"Teach people to read, not to copy." "Zhang Shutang's Theory of Calligraphy" broadly speaking, what is meant here is that calligraphers must appreciate, ponder, and feel excellent inscriptions, so as to be able to understand them from the heart. The appreciation of calligraphy is different from the appreciation of painting. It does not have the concreteness of painting. Through the use of written symbols, we create living works of art. When we appreciate them, there is a kind of ambiguity. "As far as the appreciator is concerned, it is through the images that we understand the meaning. It is not concrete, but it has life." It is abstract, but it has meaning. If the image is concrete, the meaning is lost." (Contemporary Chen Fang's "Creative Imagery in Calligraphy") If we develop the habit of reading posts frequently, we will understand the original meaning over time. The atmosphere, style, charm, organization, interest, artistic conception, etc. of the model.
2. Analytical formula
For scholars, the analytical formula has a direct guiding role. The calligrapher must conduct a rational analysis and study of every bit of the original calligraphy, and have a comprehensive understanding of its external form and inner artistic conception, so as to truly grasp the style and charm of the original calligraphy, just as Huang Tingjian of the Song Dynasty wrote in "On the Book of Calligraphy". "A closer look is amazing, and even wonderful things can be seen." In addition, we also need to analyze and understand the author's background and mood when writing his post, and further expand the research and analysis of the similarities and differences with other templates of the same font. Wherever you go, read widely, absorb the advantages that suit your own taste, and turn the past into my own.
Three Memory Types
The purpose of reading posts is to make scholars better. Lin Lin Tie and Tie Tie need to repeatedly figure out the stipples, knots, composition, and meaning of the model, and be able to master and use it skillfully, and then strengthen the memory on the basis of understanding. If you imitate ancient people's calligraphy on the wall and look at it with concentration, you will be able to write according to people's wishes." (Song Dynasty Huang Tingjian's "On Calligraphy") I think the reason why he can write according to people's wishes shows that he is very fond of the calligraphy hanging on the wall. Day and night, through careful observation, we have reached a level of understanding of its composition, word structure, meaning and rhyme, etc. As long as we can persist in this way for a long time and insist on memorizing the text, we will definitely gain knowledge on the basis of continuous accumulation. Use it with your heart, use it with your hands.
The above three methods should be related to each other in the process of reading posts and combined with the practice of post writing to be effective.
Four ways to adjust your mentality during post-writing
Lin-tie is the only way to learn calligraphy. Calligraphers use it as their daily lesson. In order to master it and develop a style of its own; beginners use it as the cornerstone in order to accumulate knowledge and advance their skills. But in the process of copywriting, we all have this experience, that is, after getting a copybook, after a period of writing, sometimes there will be a stagnation phenomenon, and we even feel that the writing is getting worse. At this time, we often feel bored with writing, feel a little discouraged, and even lose confidence in studying calligraphy.
Actually. Every calligrapher has experienced this phenomenon, which we call the "Lintie Plateau Period." It is a barrier on our road to learning calligraphy. Only by crossing it can we have a brighter future. We must treat the plateau period of book learning correctly and not avoid it. Not afraid. And you must be good at adjusting your mentality during the plateau period, successfully passing through the plateau period, and making a qualitative leap in your works.
1. Change your thinking and pursue new ideas.
Changing the mindset of posting in the past and deliberately seeking new ideas in posts is one of the ways to self-adjust your mentality when posting. Our usual method of copywriting is to refer to the copybook page by page and write, but over time we will get tired of this method. What should we do? New laws can be sought.
A. Selective practice: that is, selective practice, such as choosing characters with the same radicals, characters with the same structure, characters you like, characters that are difficult to write, and words you like. Page. Choose a few sentences you like and practice them again and again. In this way, writing sometimes has a certain purpose, and sometimes it is very random. Sometimes writing is relaxed and sometimes focused. It can adjust one's mentality well and no longer regard writing as a burden.
B. Creative writing: that is, treating the writing as a creation one after another. For example, you can treat each page of the writing as a work. Complete each two lines of the post as a couplet. This creative method of studying not only allows us to treat the essays with a rigorous attitude and improves our interest in the essays, but also makes it easier for us to compare the essays with the original essays, discover the deficiencies in the brushwork, calligraphy, and composition of the essays, and improve the quality of the essays. The level of subtlety promotes creation.
In addition, you can also practice from back to front. Understand and master copybooks from a new perspective; there are also collections of calligraphy, collections of couplets, or collective copywriting. This is a great way to transition from writing to writing.
2. Study and figure out, and get the source of your heart.
There is a saying in daily life that "distance creates beauty." When we feel tired of studying a certain post, we might as well treat it coldly and temporarily shelve the post.
At this time, we can occasionally use other posts (of course it is best to be of the same origin) to lighten the mood, but it is best to use the leisure time at this time to calm down and study the post carefully. You can collect extensive information about the post, such as reviews of the post in publications. The background of the time when this post was written. The main content of the post, the guidance article for writing the post, the collection anecdotes related to the post, etc. These related contents can enable us to understand the post more comprehensively and deeply, and also help us better grasp the post. The wind spirit and charm of the post. Improve writing quality.
In addition, we can conduct a comprehensive analysis of the relevant information collected, and on the basis of referring to other people's artistic views, we can talk about our own opinions on the post based on our own aesthetic views and experience in writing. You can also compile it into an article and submit it to newspapers and periodicals. If it can be published, it will undoubtedly be another promotion for you.
We often say, "Work without a plan is blind work, and work without summary is blind work." In fact, the process of researching and figuring out the posts we write is a process of re-understanding and re-understanding. The process of improvement can well correct the mistakes we usually make when writing posts, and better approach the ancients.
3. Create an atmosphere. Stimulate interest.
Sun Guoting's "Book Book" explains the function of calligraphy, "It can express its emotions and shape its sorrow and joy." Although this refers to calligraphy creation, we should also try our best to fit in with the original when writing. The "emotion", "sorrow and joy" of the post, because this will help us better express the form and spirit of the original post.
Cai Yong also said in "Bi Lun": "The person who writes books should be scattered. If you want to write, you should first spread your arms. Let your emotions be as you want, and then write." It can be seen from this that the ancients were very strict in writing books. Pay attention to a good mood. This of course also has reference value for future posts. This is why we need to understand the content of the copybook and the background of the times.
The author thinks. To truly write deeply, you must do at least two things: first, you must have a peaceful mind, and second, you must incorporate emotion into your writing. But how to create such an atmosphere? You can drink tea, read posts, and talk to the ancients; you can listen to a piece of music with a melody that blends in ancient posts to stir your heart; you can also, as Cai Yong said, "sit silently and meditate, and do whatever you want." ...In short, only by adjusting your mood before writing can you unite your mind and hand and achieve twice the result with half the effort. Otherwise, we often write in a coping style and a task-oriented way, and our intentions are not the same. The more I write, the more frustrated I become, so I think it is also important to develop good post writing habits.
4. Find teachers and friends to open up ideas.
Confucius said: "When three people walk together, there must be my teacher." When we are studying a certain post and feel unable to write it down, we can bring some of our own papers to look for teachers and friends. Go and seek a remedy among them.
Su Dongpo, a senior calligrapher, has a famous saying: "If you don't know the true face of Mount Lu, you just live in this mountain." When we talk to our teachers and friends about our confusion and confusion, they will analyze and analyze it from different angles. If you give me some advice, there may be some good advice that will make you enlightened. What's more, gatherings between teachers and friends can broaden their minds, learn from each other's strengths, and encourage each other. It can be said to achieve multiple things with one stone, so why not do it?
Of course. There are many ways to write calligraphy, and they are very particular. Every calligrapher will have some experience. I hope this article can inspire others and more Taoist friends can introduce their successful experience in writing to everyone. This will undoubtedly be of great benefit to the majority of calligraphers.
A brief introduction to the six methods of copying inscriptions
Copying inscriptions on stele is the only way and an effective means to learn calligraphy. Copying is an effective way to practice basic skills in the early learning stage. It is easy to obtain the posture structure of ancient calligraphy, but the biggest disadvantage is that it is difficult to understand the essence of calligraphy - the charm. Learning any art, in the final analysis, is to grasp the mystery of the art. What is reflected in calligraphy is the understanding and application of rules, techniques and charm. In the process of imitating excellent Dharma books, in order to effectively make up for the shortcomings of "copying", we have a deeper understanding of the rules, techniques and charm. We mostly use the "post-post" method.
The author will briefly analyze several methods in this post. Interested book friends may wish to try them out.
1. Actual approach to the law. This is the most commonly used temporary post method. This method is to put the model in front of you, use a brush (hard pen) to write against it, and imitate the model characters by observing and understanding the calligraphy. At the beginning, you can read one word and write one word, and then write one word after another. When you are familiar with it, you can read a few words or a few lines and write them. This is what is usually called antithesis. I have a thorough memory and understanding of every word and line in the template. Then you can write the entire post based on your impressions. This is the backing. The invitation will come as close as the back. Because it can fully integrate the eyes, hands and brain and is very effective, it is widely used by every scholar.
2. Refer to the law. This method can be used when paper and pen are not available. Such as during a break during work. While on the train, you can use your fingers in the air or on objects such as tables and stools to "practice" or "create" based on the memory of Fan characters. In this unique calligraphy learning, you can often deepen your understanding and grasp of the feel of the pen and the speed of the pen. This method was not only adopted in contemporary times; even in the Qing Dynasty, there was an interesting example of Zheng Banqiao using his wife's body to practice calligraphy while sleeping, which was widely praised.
3. The mind is in touch with the Dharma. It is also an interesting and effective method to practice calligraphy with a piece of paper and a pen in your mind. In fact, this method is used invisibly by every scholar. When studying the Dharma calligraphy, you should first observe the Fan characters to deepen your understanding, and when you start writing, you will have the process of "rehearsing" or "shadowing" the Fan characters in your mind, even if it is fleeting. This coincides with the calligraphy theory of "the intention comes first". In fact, if we can effectively use the method of "mind presence" during the rest and leisure time - progress will often be revealed in the next experience.
Four. The mind comes to the law. This is a method of practicing the method according to the charm and artistic conception. It is widely used by many calligraphers. When studying Dharma calligraphy, you don't want every word or picture to be perfect, but you want the overall charm to be vivid and natural. This is a creative practice method and is not suitable for beginners.
5. Creative practice method. Some books call it "collection of ancient characters". Select the words in the dharma stickers for "transplantation creation", or couplets, banners, or fans. The "double carving" of "arrow" writing and creation. The title post of Wang Xizhi's book "Holy Religion Preface" was composed of monk Huairen's collection of Wang's characters.
This kind of temporary practice method can effectively eliminate the boring and psychological shortcomings of writing inscriptions, and improve the interest and perception of inscriptions. It is a method deeply loved by calligraphers.