Generally speaking, it is nothing more than the following types ``
Copying and creation are the two most important stages of learning calligraphy. From ancient times to the present, there is almost no calligrapher who has not struggled through the repetitive process of "copying-creation-copying-recreation". To learn calligraphy, first copy and then create, first inherit and then innovate. This is the minimum procedure and method. Copying focuses on technical training and mastering the technical rules of ancient calligraphy works; creation focuses on artistic understanding and appreciating the artistic charm of ancient calligraphy works. Without solid, serious and painstaking copying, creation is just an empty talk; but without the pursuit of creation, copying loses motivation and meaning. Only by combining copying with creation, paying attention to both technical practice and artistic understanding, can we achieve great results. Head to a higher level.
Copying is a special term for calligraphy and a basic method that must be used to learn any kind of calligraphy. Learning calligraphy is inseparable from stele inscriptions and copying. Only by diligently copying ancient excellent inscriptions can we master the basic techniques of various calligraphy styles (such as pen use, word knotting, composition, charm, etc.), and can we appreciate the ancient calligraphy works. The subtlety of it. Regarding copying, we can specifically think about it from the following three aspects:
1. Combination of copying and copying
Copying is the most basic method of learning calligraphy. Not only do beginners need to copy, but they also have After a certain foundation, you still need to copy. Learning regular script requires copying, while learning seal script, official script, running script, and cursive script still requires copying. A calligrapher spends his life in copying, learning in copying, thinking in copying, and creating in copying.
Copying is to cover the copybook with tissue paper, and then the pen follows the shadow and writes according to the revealed handwriting. It is also called "imitation" or rubbing. There is another method of copying called "drawing red", which is to fill in the words printed with double hooks and red lines.
How to copy: the first step is to draw red. That is, select clear and complete characters from a book of calligraphy, cover them with transparent and ink-proof thin paper, such as typing paper, glossy paper, tracing paper, etc., and follow the outline of the characters with extremely thin paper. The lines are hooked into hollow characters, which is called "double hook". Then use the hooked words as a tracing book, fill it in with red ink, then with blue ink, and finally with ink. Writing in this way can not only deepen your memory, but also save paper.
When copying the calligraphy, you should pay attention to the movement of the pen and avoid losing its shape. You should pay close attention to the ins and outs of the strokes and figure out its brushwork and structure. The imitation should have the meaning of "writing", and write the strokes one by one, full and precise, and do not follow the gourd and the gourd to fill in and smear.
Copying the calligraphy is to write against the calligraphy after having a basic understanding of the rules of writing and tying the characters on the calligraphy. There are three ways to write a post: face to face, close to face, and back to face.
Opposite copywriting, that is, put the copybook on the opposite frame and write accordingly. This is the most convenient and commonly used copywriting method.
Ge Lin, that is, use transparent paper to mark a grid (field grid, rice grid, nine palace grid, etc.) and write according to the pattern. Mainly used to grasp the structural parts of calligraphy.
Back-up means putting the post away and writing the words in the post from memory, not only for its shape, but also for its spirit. After backing up, you can collect the words into couplets or into articles, and then enter the creation stage.
The imitation pen follows the shadow. We write how the ancients wrote. The size, length, width, thickness, square and circle, slant, etc. must be written according to the requirements of the calligraphy. There are certain standards. and constraints. The characteristic of copying is that it is easy to learn the structural positions of the ancients. However, because the rules are too rigid, the writing style of the ancients is lost. The writing style is rigid and inflexible, which makes people feel unable to let go and unbearable; , or Yilin, adding many of the calligrapher's own personality characteristics, so it is easy to get the ancient writing style, but easy to lose the ancient structural position. I write freely and pursue individuality, but gain very little.
Therefore, copying must be combined with copying, copying first and then copying, so as to obtain both the ancients’ writing methods and the ancients’ structural rules. When practicing, you can copy first and then review, then copy in reverse, and then review after copying. Or use the "double hook" method to study structural laws. Copying and copying are interspersed, and the effect is excellent. When copying, you should look more, think more, and ponder more, and then write.
The writing must be accurate, first similar in form, then similar in spirit, so as to achieve both form and spirit. After copying, you should repeatedly check and compare, sum up experience and lessons, improve through negation, and mature through lessons.
2. First in, last out
Copying is the most basic and effective way to learn calligraphy. Copying is inheritance, that is, learning from the ancients, learning the beautiful brushwork, beautiful knotting, beautiful composition, beautiful charm and momentum in the excellent inscriptions of the predecessors. But there is another key issue in copying: entry and exit. If you don't enter the post, can't write it, or the writing doesn't look like it, you can't have a dialogue with the ancients and learn the beauty of ancient calligraphy. But if you don’t post, you can’t come out even if you go in. It’s too much like the ancients, and you’ve become a slave to the ancients. You have no personality of your own at all. Writing like this, you won’t be able to form your own calligraphy style in the end.
About entering and leaving posts, Yao Mengqi of the Qing Dynasty said it well: When entering posts, "I can't be there, because it's customary to have me." ""Not without me" means that we must study the ancient Dharma calligraphy wholeheartedly and grasp the spiritual outlook of the calligraphy. "Every word must come from the ancient calligraphy." If you don't follow the calligraphy, you will have no basis; What I mean is that on the basis of the portrait, we should absorb the strengths of other inscriptions, integrate them, combine them with our own artistic qualities and creative talents, gradually form our own style, have personality and creativity, and gradually move towards a new era of free creation. realm.
3. Read the posts and be good at enlightenment
Not only do you need to read the posts, but the important thing is to read them. Learning the books and being good at enlightenment means understanding from reading the posts. Some of the excellent Dharma posts of the ancients may not necessarily be As long as you read it carefully, appreciate it repeatedly, and understand its laws and charm, you will naturally incorporate it into your own calligraphy creation.
Reading the inscription does not mean reading the text of the inscription aloud. The so-called reading of calligraphy is a specialized term for calligraphy, that is, the calligrapher flips through the calligraphy and scans the ink before copying the calligraphy, or during normal work breaks, that is, carefully analyzing, studying, and pondering the strokes and structure of each character in the calligraphy. As I read and memorize the composition, momentum and charm of the entire work, I can't help but draw it with my fingers, copying it with my heart and my hands, and I am very excited.
The ancients read posts very carefully. Cao Cao was not only a famous politician and military strategist, but also a famous poet and calligrapher. The Shaanxi Hanzhong Museum has an official script inscription of "Gunxue" written by him. It is said that he liked Liang Hu's calligraphy, so he hung Liang Hu's calligraphy in his tent and read it whenever he had time. He would not give up reading the calligraphy even when he was marching and fighting. It is said that Zhong Yao, a great calligrapher in the Wei Dynasty of the Three Kingdoms, "painted the ground while sitting and the quilt while lying down." He studied calligraphy very hard, paying special attention to reading and dictating famous calligraphy. Ouyang Xun, a calligrapher of the Tang Dynasty, once discovered a stele written by Suo Jing, a calligrapher of the Jin Dynasty, when he was traveling. He turned around and read it. His legs were sore from standing, so he simply sat down to read it. This lasted for three days before reluctantly leaving.
Reading the posts is like having a conversation with the ancients, making friends, and reaching a consensus of thoughts and emotions. When reading the post, we start from one point to another, carefully studying and pondering the beauty of the ancients’ brushwork, word formation, composition, momentum and charm. Through reading, you can deepen your understanding, exercise your visual memory, and enrich, accumulate and improve your art appreciation ability. A copy of the post can read hundreds of books. Reading calligraphy is not limited to one or two books. The practical experience of many calligraphers in ancient and modern times has proved that reading calligraphy is better than copying calligraphy. We may not necessarily read some inscriptions, but we can read them and deeply understand the three flavors in the ancient calligraphy works. Accumulate a little and gradually absorb and digest it, so that it can flow to the bottom of the wrist and be enriched on the paper. Naturally, the hands will follow the height of the eyes. Make your hands smart. It enters the eyes, melts into the heart, and comes out of the hands. The heart and hands respond, and get twice the result with half the effort.
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