How should learners cultivate the mentality of learning books?

Especially in front of these book fairs, competitions, newspapers and periodicals, some book learners are in a hurry, bent on becoming famous, and can't bear to practice hard. They tried to take a shortcut, but they were busy imitating the East and writing "works" for the exhibition. Some have not even written the basic strokes, but also want to publish "works" in newspapers and periodicals, hoping to become famous in one fell swoop. I think this mentality is tantamount to building a tall building on the beach and it is impossible to succeed. ? The so-called mentality refers to the social and cultural psychology of a certain era and its reflection. It constitutes a specific system of social values, beliefs and actions. Mentality comes from "mental state" or "psychological state" in French, and creative mentality refers to the sum total of creative behaviors reflected in the form of intention, desire and motivation from a certain need. It is restricted by specific times, environment, conditions, psychology and other factors. Different situations lead to different creative mentality. Calligraphy, as an art, is actually just a tool and an afterthought in the eyes of literati in the old days. But nowadays, with the refinement of social division of labor, calligraphy has become a profession or a tool in another sense. Therefore, all people who like the art of calligraphy will have a variety of mentality, which actually determines a person's purpose and attitude towards calligraphy. Because of this, we can see so many lively exhibitions and competitions, and see so many seemingly large-scale scenery. This superficial excitement and scenery will only make us look forward to a fresh and in-depth expression and thinking, because what we read in it is more anxious and shallow, and many so-called creations lacking independent thinking and personalized language constantly tease our expectant eyes. In fact, for a calligrapher, calligraphy creation is a sacred thing, that is to say, to create calligraphy, you must have good psychological preparation and not rush into it. Calligraphers should try their best to show their feelings and wants with a calm and inaction mentality and with the help of their own cultural literacy. Of course, even a calligrapher with a good foundation, the creative mentality is also very important. As Sun said, "five good and five combinations". Let's not talk about it here. Too hasty and cynical creative psychology will definitely not be able to write works with level and connotation. When I say this, of course, it is more necessary for scholars to go deep into the works of the ancients to ponder carefully and understand their brushwork and style when writing; It is necessary to walk into the spirit of the ancients and carefully understand their creative mentality and background, so as to better understand and grasp the characteristics of their calligraphy language, absorb the nutrition of ancient calligraphy from a higher level and enrich our creation. Why is calligraphy a very special art? Because its formal language of pen and ink is based on the continuous accumulation and enrichment of predecessors, learning from ancient classics is something that every scholar can't slack off all his life. However, there are indeed many calligraphy friends who sometimes ignore this point today. When they enter, interpret and study the classics, they often lack a bit of piety, so that they can't really learn the excellent things of the ancients, but often get goose bumps. However, this is what the ancients said that calligraphy creation generally includes two kinds of mentality: one is emptiness and tranquility, and the other is passion. Virtual and quiet creation is a creative mentality of listening to others, caring for others, respecting others and opposing people and books. For example, Cai Yong in the Eastern Han Dynasty clearly pointed out in "On Books": "To write a book, you should sit still and meditate, be casual, insincere and full of enthusiasm. If you are supreme, there is nothing wrong. " That's the truth. There is no doubt that in the eyes of ancient calligraphers, calligraphy activities are a process of synergy of various psychological factors. No matter whether it is the creation of virtual silence or passionate modality, it is inseparable from the important role of motivation, imagination, emotion, inspiration and other factors. The style and realm of calligraphy are subject to the personality and morality of calligraphy. It should be pointed out that ancient calligraphers paid attention to the psychological analysis of writing and creation, but paid little attention to the psychological phenomena and laws in calligraphers' appreciation. It seems that only the "* * * statement" in calligraphy appreciation and a pleasing calligraphy work are the comprehensive embodiment of the author's character cultivation, cultural connotation and artistic quality, and also the full expression of the author's mentality and mood. Therefore, a good attitude and the best state of mind have always been the primary conditions and key factors of calligraphy creation. A good attitude comes from grasping the times, understanding the society, appreciating life, loving life, understanding art and pursuing truth, goodness and beauty. Of course, a good mentality comes from an indifferent, quiet and natural psychological state. Always pay attention to purifying the mind, understanding life, developing a healthy and positive attitude towards life, and being broad-minded and optimistic. Second, a good attitude also comes from the love of national traditional culture and the persistent pursuit of calligraphy art. Book learners need to dabble in the vast culture and art, be diligent in seeking, learn knowledge and nutrition from it, cultivate their thoughts and sentiments, and improve their artistic accomplishment. Practice has proved that excellent calligraphy works in history were all completed by calligraphers with a comfortable and prosperous mind. For example, Wang Xizhi and Xie An, a friend of Qi State, get together in Lanting, where there are many talents, but few poems are collected. At that time, he was full of thoughts, which made him make waves at the end of his pen and wrote Preface to Lanting Collection. In the final analysis, the best creative mentality has always been the most ideal creative state pursued by calligraphers. When writing a book, you must concentrate on it. "Words are important to your heart, which means writing first". Only in this way, the feeling of combining rigidity with softness and the state of combining motion and static can be grasped in the heart, in the hand, in the hair and on the paper, which is natural, vivid and lifelike. The "concentration meditation" mentioned here means that you are at ease, absolutely concerned about concentration, and your heart is healthy and harmonious. Miffy once said: "Learning books needs fun. He forgot everything, but he can enter the wonderful. Don't worry about a good thing, you won't work. " This is also a fact. Be good at discovering the true "self", so as to further consolidate the "self" of art and realize the "fusion" of art? For book learners, there is also an open system of "art integration, from art to Taoism and beyond self". The sages have said: "The pen comes from the wrist, that is, the pen comes from the heart." What we are talking about is the art of calligraphy. Calligraphy itself should be a quality of calligraphers, an art of expressing thoughts and feelings, which is inseparable from learners' personality, temperament, endowment and cultivation. Indeed, the best creative mentality is a qualitative leap in calligraphers' thinking and spiritual activities. It is the most intense, concentrated and agile stage of image thinking, and it is the stage in which artistic potential is highly exerted and quickly released. At this time, the calligraphy image in thoughts and feelings has the center of gravity of aggregation and casting, and has a centralized and detailed order, just like "more water will flow, and Qutang will compete for a door." Life in the calligrapher's mind accumulates, and emotion accumulates like a raging river, pouring into the art channel. It goes without saying that a good attitude and the best attitude do not come naturally, but are the final result of repeated observation, serious study, long-term self-discipline and hard accumulation. From Cai Yong's Nine Situations to Kang Youwei's A Boat with Wide Arts in Qing Dynasty, book learners have learned enough theoretical knowledge to learn books, such as writing with a pen, composing words, and appreciating. Secondly, try to dabble in theoretical monographs such as poetry, painting and literary theory, cultivate profound cultural literacy, and achieve the goal of the same strain in creation. Moreover, learners should consult knowledgeable and skilled calligraphers from time to time, learn the essence of their calligraphy skills, and experience the wisdom of calligraphy in combination with their own actions. Only in this way can we achieve the goal of "picking beautiful flowers, scraping and eliminating vulgarity, and approaching calligraphy", instead of "specializing in self-cultivation and lacking in teacher education", which leads to "all diseases" from ancient times to the present. An excellent calligrapher must advocate the concept of "tradition first" and strive to create an environment for his study and life. In this way, we can be relatively less disturbed by some current trends and impetuous mentality, and conduct in-depth exploration along the traditional direction with a pure mentality. So over the years, my writing, thinking and reading have been carried out around this will, and I think I have also received more generous returns. From the creative level, I know very well that the study of steles centered on Han steles is my overall reference and learning object, hoping to excavate, sort out and refine all aspects of this field with an analytical attitude. In this huge system, I should not only improve my skills training in an attempt to reach a high standard of statutes, but also find my favorite taste and charm through constant psychological experience and trade-offs. I know that the matching of high-standard statutes and high-level implications is my eternal ideal, but it is not an easy task and needs an all-round self-improvement to achieve it. Therefore, for a book learner, it is by no means a simple matter to master and control a soft writing brush by hand and make it freely on Xuan paper, which requires great efforts. Then, how to master the brushwork is actually a comprehensive artistic effect, which is not only related to writing and wrist movements, but also related to the thickness, depth, shape and quality of stippling, Fiona Fang, middle edge, rhythm and gesture of the pen, and also related to the frame structure of the font. All these basic elements can be improved in brushwork. I think the way to learn books should be to have a correct entry, be calm, and have a regular entry to change it, and be calm to connect with its spirit and change it in this delicate world. With the deepening of calligraphy learning, I really realized the infinite artistic charm of calligraphy and enjoyed the enlightenment and happiness of life in the process of calligraphy learning. Knowing the truth that "being good at one thing and always using wisdom will accomplish nothing", I can keep calligraphy, face the noisy world with an inner determination and courage to face life, and constantly cultivate my mind of "where art lies". I think, a flower and a fruit, really, the spirit of life and emotional spirituality will slowly bloom in the book. Learners must know the brushwork, remember the line type, and handle the structure, composition and deduction well in order to gain something from the tradition. Try to figure out the pen from the line shape and complete the restoration of the gesture. It is necessary to understand the diversity of linear processing, the law of structure, the aesthetic law of composition and orderly training when creating, in order to achieve the expected effect. Writing here, I can't help but think that Cai Yong of the Han Dynasty once read his "Nine Potential": "Although there is no teacher to teach, it can be better than the ancients, and it can be wonderful to do more calligraphy." It's really wonderful. Therefore, learners should be calm, savvy and persistent in learning books. Only by studying in this way can we pass the mark in calligraphy art and enter the classroom. Some people say that calligraphy creation is a mysterious thing, and its methods are wonderful. This statement shows the artistic charm of calligraphy, and it is biased if it can't be said. Everything has rules to follow, nothing more than partiality. It can't be said that it doesn't understand its truth, so that it can't be expressed. In a word, it is "illegal". This passage warns readers that as long as they are willing to work hard and try their best to mediate the peace and calmness of their creative mentality, they will naturally reach the creative realm of "Yoga Yu is a beauty when writing unintentionally" and "thinking naturally with God, somehow". Therefore, in a sense, calligraphy is not only a plastic art with words as the carrier, but also a meaningful expression of life interest. Both metaphysics and psychology are indispensable. As we all know, creation and theory are inseparable. Creation is the display of theory, and theory is the guidance of creation. Both are indispensable. How to learn calligraphy well depends on theoretical support, or calligraphy history, aesthetics, calligraphy creation, skill combing, philosophy and so on. , can be further studied, so as to lay a solid theoretical foundation for creation. When the creation encounters a bottleneck, it is precisely to test the theoretical literacy and knowledge of learners. Therefore, I say that theoretical study is undoubtedly a long-term and meaningful course. My understanding is that no matter copying or creating, we must have a normal heart. In the study of traditional calligraphy art, we should consciously explore and innovate deeply. In creation, we should not simply imitate the composition and techniques of our predecessors, but combine our own unique experience to write and create. In the free and complacent calligraphy language, we should observe, measure and express our inner richness. Otherwise, there will be impetuous psychology, no perseverance and perseverance, and superficial writing, otherwise there will be no results and fine products.