Wang Xizhi said in On Books: "All books can be called books if they are ten late and five urgent, ten curved and five straight, ten hidden and five out, and fifteen volts." Here, "late", "straight", "hidden" and "starting" all refer to the changes of strokes in the process of using a pen. "Late haste" refers to the change of pen speed and rhythm; "Straight" refers to the trajectory change of the pen; "Hiding out" refers to changing pens and collecting pens; "ups and downs" refers to the changes in lifting and pressure during writing. The above are the main points of using a pen, and different writing methods can get different artistic effects. Usually, "late" means "calm" and "urgent" means "ready to go"; "Qu" means "diversity"; "Straight" stands for "rigidity"; "Tibet" stands for "Huncheng"; "Out" means "Li Shuang"; "Ascension" stands for "agility"; "V" stands for "stability". However, these are not absolute and cannot be copied mechanically. Different situations should be treated differently. Being "late" is easy to be depressed and depressed; Blindly "anxious" is easy to slip and lacks calmness; Blindly "bending" customs and lacking in strength, blindly "straight" is easy to be stiff and lacking in softness; Blindly "hiding the front" is easy to die and lacks vitality; Blindly "out of position", easy to show off, lack of connotation; Blindly "rising", easy to float, lack of calm; Blindly "crouching" is easy to become rigid and lacks frivolity. Here, we should regard "ten" and "five" as dialectical relations, not absolute quantitative standards, and we should not treat "ten late and five urgent" as the treatment method of each word, otherwise it will be self-defeating. Therefore, we should combine these opposing elements into a harmonious contradictory unity, so as to make its calligraphy lines rich and colorful. In short, learning to use a pen is equivalent to learning to walk. Only when you can master the brush skillfully can you write as you want and wherever you want.
Second, the difficulty lies in the structure.
Wang Xizhi (after the title of Mrs. Wei's "Pen Chen Tu") said: "If it is straight and shaped like a symbol, it is integrated from top to bottom and flush from front to back, it is not a book, but it is worth mentioning." Here, straightness, similarity, calculation, square and flatness are explained from different angles, and only the same and unchanging characters are not calligraphy. What is calligraphy? Calligraphy is art, and art should be expressed everywhere in calligraphy. Pay attention to contrast and change in form, and pay attention to spirit and charm in connotation. Therefore, contrast and change are the foundation of calligraphy, and charm is the soul of calligraphy. Cai Yong said in "Nine Potentials": "The upper part covers the lower part, and the lower part carries on, so that the potentials are in contrast and there is no combination." Calligraphy requires strokes to be properly matched and affectionate. Lines determine quality, structure determines form, and verve determines spirit. Just like a chef pays attention to the quality of food first, and then makes a dish with good appearance and artistic taste. One is to attract the attention of diners, and the other is to increase their appetite and make them want to "eat" when they look at it. "Eating" is the core content of a chef's cooking. We should make the dishes very delicious, sour, sweet, spicy, fresh and fragrant. What we want and what we have will be memorable, and we will never forget to enjoy it after eating it. So is calligraphy. Its shape is outside, its taste is inside, its shape is visible and its taste can be tasted. It's not difficult to look alike. It's not that easy to look like and taste. Good people can be said to have both form and spirit.
Third, the difficulty lies in the ink method.
Bao Qing Chen Shi's "Art Boat Double Series"? As the saying goes, "calligraphy and painting are based on pen and ink, so calligraphy is a key to calligraphy." In fact, the pen is heavy, but it is floating. ..... "Mohism occupies an important position in calligraphy, and being good at using ink is the constant pursuit of calligraphers all their lives. Lin Sanzhi, a contemporary sage who is known as "cherishing ink like gold", is particular about using ink and has endless changes. Wang Duo, an outstanding painter in Qing Dynasty, used ink boldly and calmly, vividly explaining the rich changes of ink and wash "thick, light, dry, wet and dry". Song dynasty's "ink for the continuation of the book spectrum" said in more detail: "if you want to write a script, you can't be too dry. Dry grass, moisten beauty, and take risks with dryness. If the ink is thick, the pen will be sluggish, but if it is dry, I don't know. " This shows that different fonts have different requirements for ink, and rational use of ink can add color to fonts. The changes of "Yin", "Wet" and "Dry Rhyme" in calligraphy are naturally formed. Blind increase, excessive will cause adverse reactions. If you use ink, it should not be too light. If it's light, it's gray, and gray will hurt you. Don't be too thick, thick is sluggish, and sluggish is not smooth (pen); Don't overdo it, do it, do it, and do it again; Don't be too wet, it will overflow when it is wet, and there will be no rhyme when it overflows; Don't be too dry, dry is burnt, and burnt is messy. Otherwise, you will lose your innocence. I understand that using ink is very simple, just like eating, eating-digesting-eating-digesting, that is, dipping in ink-writing-dipping in ink-writing again.
Fourth, the difficulty lies in composition.
Dong Qichang's Essay on Painting Zen Rooms in Ming Dynasty said: "The ancients took the composition of books as a major event and covered the so-called thick lines. See Mi Chi in fine print, and write an elegant collection of West Garden. It's ten thousand fans, straight as a string. There must be another way, but you should pay attention to the rules and regulations on weekdays. The preface to Lanting of the right army is the first in ancient and modern times, and its words are all born of tapes, small or big, all in the law, so it is also divine. " The ancients paid great attention to the composition of books. Jiang Ji's "On the Continuation of Calligraphy": "Long is based on the rules and regulations, and the reality is virtual, and the reality is spiritual; Take the virtual as the real, and never stop. There are high and low densities between the lines, which are bound to be covered with uneven traces. " Composition is the echo between stippling and stippling, the expression between words, and the contrast between lines. On the whole, the charm can be reached, and the virtual and the real are born together. Bao Qing Chen Shi's On Wu An said: "Every book, no matter what it is, should be equipped with bones and muscles, movements of bones and muscles, movements of blood, movements of flesh and blood, feelings of pen, and water is the bone marrow of ink." Zhang Shen's Interpretation of Calligraphy in the Ming Dynasty said: "The ancients wrote a composition with the method of writing, composition and article, and the final structure was corresponding from beginning to end. Therefore, the cloud:' One word is divided into one word, and one word is the end' ". Composition is also called "line drawing", which means "layout". The content of the whole work is line drawing, such as word spacing, line spacing, line size, style and blank space between heaven and earth.
Fifth, the difficulty lies in artistic conception.
Artistic conception is that the calligrapher injects the emotion of calligraphy into the pen, expresses the meaning in his chest with the image of calligraphy, and allows readers to appreciate the rich connotation of calligraphy works, from which they can get insight, enlightenment and nourishment. Artistic conception is the embodiment of culture, and its expression is simply the coexistence of reality and falsehood, the coexistence of reality and falsehood, and the coexistence of reality and falsehood The relationship between reality and reality is interdependent, and no one can exist alone without each other. In the aesthetic process of calligraphy, the emergence of artistic conception is a psychological phenomenon. We often say that the artistic conception is far-reaching, showing the unique beauty of calligraphy art in the imaginary space, and combining the natural realm with the artistic realm perfectly to create a new artistic conception. If the face is open, it shows an open mind and tolerance. As a philosopher said, the ocean is wider than the land, the sky is wider than the ocean, and the human mind is wider than the sky. Generosity is a virtue, a grace and a kind and selfless state. Expressing this realm in calligraphy art is artistic conception. There are various forms and methods of artistic conception, but artistic conception should be brilliant. If you want to shine, you must inject many beautiful elements, and often use contrast, exaggeration and surprise methods to attract people's attention, increase the impact of the perspective and improve the appeal of the work. Only works with brilliant artistic conception can make people memorable, excited, excited and emotional, and purify and sublimate their emotions. In the expression of artistic conception, we should consider expressing emotions, pursue the realm of "emotion and scenery meet, meaning and image are interlinked", and express the author's true feelings in the works, just like "My Nephew's Draft", which is the true expression of Yan Zhenqing's mood. In extreme grief and indignation, regardless of pen and ink, it naturally forms with the ups and downs of calligraphers' emotions, which is the natural expression of emotions and kung fu. It reached the peak of the perfect combination of technology and art, and set up a monument in the history of calligraphy.
Sixth, the difficulty lies in unification.
Calligraphy is a unique art composed of strokes, structure, composition, artistic conception and other elements, which is completed by pen and ink. The proficiency of the pen determines the quality of the lines, the length, thickness, pitch and accuracy of the strokes determine the shape of the structure, and the accuracy of the contrast changes of the width, height, size, skew and density of the structure determines the quality of the composition. Calligraphy is the art of expressing the author's feelings through Chinese characters. It unifies all factors such as strokes, structure, composition, artistic conception, contrast and change, and then injects the author's technology, emotion, thought, realm and pursuit into it. It is a classic and good work. All these can be realized from ancient classic works. Change and unity are a pair of dialectical relations. Change can enrich works, and unity can standardize works. In place but not offside, there is unity in change, and unity is rich in change and seamless. We often say that we can't use two things at the same time. In fact, in calligraphy learning, we should not only use two things at a time, but also use three things and four things. For example, in the process of writing, we should not only grasp the rhythm and structure of the pen, but also grasp the dryness of ink color and the change of composition. Only when these are handy can we express our feelings well and the artistic conception of our works be revealed. Therefore, learning calligraphy requires both hands and brains, comprehensive and excellent basic skills, and clever combination of various techniques, otherwise it will be difficult to control. If you only pay attention to the pen and ignore the structure, although you have written lines, the structure is not good and the words you write are not good-looking; Only pay attention to the structure and ignore the pen, although the structure is well written, the lines are not good, and the words written are not good-looking; Only pay attention to pen and structure, but ignore composition and artistic conception. Although the pen and structure are well written, the composition and artistic conception are not good, and the written works are even more beautiful without connotation. In a word, if you want to write a good work, you must unify technology, thought and culture in an all-round way.
If you master the above skills and express them skillfully and naturally through practice, you will have the ability to write and express calligraphy. Sun said in the Book Score: "There are five reasons for writing once: if there is a good combination, it will be flattering, and if it is good, it will be carved. There are five reasons: enjoyment, leisure and combination; Knowing the benefits, the two are also close; When the gas is wet, the three are also; Paper and ink are in the same phase, and the four are also combined; Occasionally ask for books, five in one; You will be a good girl if you put your heart and body together; It means against the trend, and the second is also good; The wind is dry and the sun is inflamed, and the three are also good; Paper and ink are not weighed, and four is good; Just be lazy. When you are good, there is no difference between good and bad. It is better to get the equipment, and it is better to get it. If the five goodness are extracted together, four hands cover the ground, 50%, and the gods are smooth. No discomfort, no guidance. Benevolent people forget their words, and it is rare for them to wish; The enterprise looks at the wind, although it is still sparse. " Between the subjective and objective aspects of calligraphy creation, we should deal with the six difficulties in calligraphy, grasp the relationship between "dialectics" and "unity" in calligraphy, and solve every pair of contradictions in calligraphy, so as to finally achieve the beauty of "harmony" and "unity" in calligraphy.