She taught Wang Xizhi three calligraphy lessons, especially three life lessons.
[Point]: Rockfall at the summit
When I first saw Mrs. Wei's Pen Map, I was shocked, too, because the record she left was so simple that it was not easy to guess. For example, when she takes a word apart, there is an element, which is probably the most basic element in China's calligraphy-a dot.
It seems that Mrs. Wei didn't teach Wang Xizhi to write, but just took the words apart. Mrs Wei introduced Wang Xizhi into visual aesthetics, and only taught him to write, practice and feel this point. She showed her childhood Wang Xizhi the traces left by the brush touching the paper, and by the way, she also noted four words: "The peak falls."
She wants the children who are learning calligraphy to feel-come down and feel a stone falling from a cliff, and that "point" is the power of a stone falling from a height.
Someone must be curious: Does Mr. Wei teach calligraphy or physics free fall?
We found that Mrs Wei taught Wang Xizhi more than just calligraphy.
Mrs. Wei may really take the child up the mountain, let him touch the stone, let a stone fall from the peak, and even throw a stone for Wang Xizhi to pick up. At this time, the homework of "falling rocks at the top of the mountain" becomes very interesting.
I wonder if the "point" written by Wang Xizhi when he grew up is related to Mrs. Wei's education?
Preface to Lanting is Wang Xizhi's most famous work. Many people say that the word "knowledge" in it is different from each other.
If a teacher "rescued" us from the classroom when we were young and took us to the mountains to play, let us throw stones and feel the shape, weight, volume and speed of the stones, we would probably be very happy. After touching the "stone", then the teacher needs to point out the cognition of the object and the physical knowledge about weight, volume and speed. One day-maybe a long time later-this knowledge will become a "point" understanding of calligraphy when children grow up!
In fact, there are many gaps in teacher Wei's class. I don't know how long Mrs. Wei let Wang Xizhi practice, whether it was months or years, before she continued to develop into the second lesson. But this basic skill about "point" seems to have a far-reaching influence on a later great calligrapher.
"One": a thousand miles of clouds
Mrs Wei's second lesson is to lead Wang Xizhi to know another element of Chinese characters, that is, "one".
"One" is a word, or it can be just such a line.
When Mrs. Wei taught Wang Xizhi to write, there were not many previous masters to learn from, and Mrs. Wei did not seem to encourage a child to imitate the handwriting of the previous calligraphers too early. Therefore, Wang Xizhi didn't start to know the horizontal line from the "one" written by his predecessors.
The process of understanding "one" is carried out on a vast land.
Mrs Wei took Wang Xizhi outdoors. A young child stood on the vast plain, staring at the horizon, staring at the openness of the horizon, staring at the clouds that spread slowly to both sides on the vast horizon. Mrs. Wei whispered in the child's ear: "A thousand miles of smoke."
The word "a thousand miles of clouds" is not easy to understand. I always feel that writing "one" should only look at the horizon or horizontal line. In fact, "a thousand miles of clouds" refers to the arrangement of clouds on the horizon. Clouds are arranged, arranged and rolled low on the horizon, which is called "Wan Liyun". There is a feeling of vastness, feeling that both sides are horizontally extended.
The word "cloud array" also made me think for a long time. Why not something else?
There is slow motion when the clouds are lined up, much like the water in the brush slowly smudges and permeates on the rice paper. Therefore, "a thousand miles of clouds" is the relationship between brush, ink and paper silk with strong water absorption. Then, will "a thousand miles of clouds" also have special significance? That is, when writing horizontal lines, how to make them open and form an interactive rhythm relationship between water and ink on paper is a memory of the quiet flow of clouds on the quiet earth, and an understanding of the vastness, quietness and vastness of life, so that when writing "one" in the future, there can be a yearning for dialogue between heaven and earth.
This is the second lesson of Wang Xizhi.
"Vertical": Long live the dead vine
The third calligraphy lesson that Mrs Wei gave Wang Xizhi was "vertical", and there was a long stroke in the middle when writing the word "zhong".
Mrs. Wei took Wang Xizhi to the deep mountains and learned the power of gesture from the withered thick vines.
She taught Wang Xizhi to watch Long Live the Dead Vine, and climbed an old vine when climbing the mountain, a life that grew up in the long years. Children hang their bodies by the power of vines, and they hang in the air by the power of vines. Hanging in the air, you can feel the tenacity of a vine-a hard and stubborn force that cannot be pulled away.
The old vine keeps pulling, and it has a very tenacious and tenacious power. This memory becomes an understanding of calligraphy. The "vertical" word line should be written continuously, forcefully and flexibly, and there will be a tension developing to both sides.
"Long live the withered vine" is not only a plant in nature, but also a symbol of tenacious life in China's calligraphy. Long live the withered vine is a tribute to all seemingly old but uncompromising strong lives.
Wang Xizhi is still an infant, but Mrs. Wei's Long Live the Dead Vine gave him a strong experience on the long road of life, which made him enter the country of calligraphy.
The beauty of calligraphy has always been associated with life.
"Peak falling rocks" understand weight and speed.
A Thousand Miles of Clouds learned an open mind.
Long live the withered vine knows how to persevere.
Mrs Wei is a teacher of calligraphy and life.