Students' Brush Calligraphy Works Appreciate Students' Brush Calligraphy Works Pictures 1
Pictures of students' calligraphy works 2
Figure 3 Students' Calligraphy Works
Figure 4 Students' Calligraphy Works
Figure 5 Students' Calligraphy Works
Four-character secrets and ten skills of brush calligraphy
After choosing your favorite copybook, the next step is to paste it according to the copybook. So, how to post it? How to paste it correctly? Today, let's take a look. These posting skills can help you establish a correct understanding of posting and cultivate good posting habits.
1, static
Including people to calm down, before posting, they must sit up straight, keep their waist straight naturally, keep their knees shoulder-width apart, and leave the table with fists clenched, so that blood flows smoothly, clear air rises, turbid air sinks, they are full of energy, calm and carefree, and there are no distractions. This is the first point of practicing calligraphy, and perhaps the fitness effect of calligraphy is also related to this.
2. Close
It means to put the copybook as close as possible to the writing place, so that you can see the thickness and position of the strokes clearly, and it is also convenient to compare the words to be written with the copybook, so as to find problems in time. Beginners should emphasize the similarity of form and then pursue the similarity of spirit, and don't say that they are here just because they are not similar.
Step 3 slow down
That is, the speed of temporary writing is slow, which is relative. Only when you write slowly can you write like one. Beginners should slow down the speed of temporary writing, but pay attention to being slow and not lagging behind, and then speed up appropriately after they are proficient.
4. accurate
That is, the stroke thickness and position are accurate. This can only be done under the first three conditions. Beginners must first reach the shape, and then gradually master the characteristics and laws of calligraphers' calligraphy. The ratio of the length of each stroke to the structural density should be consistent with the copybook. It is recommended that the size of the words written be close to that on the copybook. )
1. What is a temporary post?
When we began to learn from the ancients, we put the rules of the ancients on the table, and the post is to learn the rules, not anything else.
In the post, we should do some weight, reality, depth and punctuality. These are microscopic changes and perceptual things, and macroscopic things can't be done without. This is the key, otherwise it will make people look unruly if they don't handle it rationally. Therefore, the shape of things is logical, that is, the shape, structure and stroke position of words are logical, and the logic of words, that is, the logic of Chinese characters in China, embodies rules and statutes; On the other hand, pens reflect people's interest and taste in books.
These are two principles. The external form of things is clear at a glance, and it is clear at a glance that it conforms to the rules; Pen is the essence of calligraphy. The thickness, release, speed and shade of ink are all requirements of calligraphy itself, which determines the taste of words, and the different pens determine the different tastes. The glyph structure is a rational requirement, and it is also a requirement for the beauty of Chinese characters in China. Must be rigorous. Whether it is running script or official script, this is the basis of calligraphy. These are two different principles, and Lin Tie is learning this principle and principle.
What are you going to do with the current training?
How to get there. No matter what position you take, no matter how you choose, you should form a scientific training model for the way you take in training, with a purpose and repeated experiments, inheritance and consolidation by means of research and analysis. Stroke can't be single, simple, thin and dry, but three-dimensional, round and vivid, which requires you to find out countless different ways to write the same stroke, compare and imitate it, fuse and refine it, find out * * * character and personality through comparison, and find out different forms and expressions of the same stroke. When creating, take the glyph on the tablet and express it in different ways, that is, using the glyph of the ancients, but not necessarily using his techniques. When creating, the technique determines the style. When the technique changes, the style changes, and there are many techniques. Zhang Qian and the wise and foolish emperor are one kind, ritual vessels are one kind, and Cao Quan is another. When creating, use them in the same work, then you are a big shot. When you train, you solve problems one by one with such a purpose, so no one can catch up with you in three to five years, ten years or even twenty years. Therefore, training means thinking and having a purpose.
If you want to achieve greater success than others, you must have different ideas. On the premise of these different ideas and concepts, choose different methods and determine the scientific training mode, then you will have different results. In other words, you are writing with your brain, not with your hands. On the other hand, we should also analyze our own crux, that is, we should cure the headache. But if it is caused by beriberi, we must first cure beriberi and prescribe the right medicine. For example, to learn cursive script, first learn cursive script, and practice techniques through cursive script, so that rotation, lifting, retraction, strokes echo, and the connection between upper and lower characters. After practicing cursive, it will only be a cursive problem. Strictly speaking, cursive script is not learned, because cursive script is an extremely emotional thing in the primitive state. It is the right way to improve the font, pen and technique from the running script, which is a matter of method.
Third, writing lies not in much but in right, not in law but in reason. If you want to pass the text barrier, you can't just copy posts.
The technique of running script is that the previous stroke controls the next stroke, and the next stroke follows the previous stroke. You wrote this regardless of that, that regardless of this. The last stroke of a running script is the beginning of the next stroke, and the next stroke is the end of the previous stroke. Running script destroys the concept of one stroke and one painting in regular script. It may be that three or five moves have become one move, and each move has internal relations and mutual management. Therefore, writing lies not in much but in right, not in law, but in reason. Your handwriting is wrong. There is something wrong with the law.
This is especially true of cursive script. For example, his thinking, observation and ability to grasp the post are very high, but he is not very skilled. When learning cursive, he should pay attention to the methods of cursive, especially the practice of some typical symbols. He must practice more, especially. A symbol should be solved and thoroughly understood in half an hour, and it can be used for a lifetime. Why not?
Another phenomenon is that plagiarists often pursue quantity and copy a post repeatedly without thinking, so it is difficult to make progress. Some exaggerated pens must be removed, which is his personality. Exaggeration like this seems hollow, and he doesn't learn it. Every word should be proficient, first written as an elephant, then skillfully written, and then recited. You should learn the word barrier, not just copying posts. Now you need to change the way, write a word five or six times casually, write it twice if you like, then find the feeling, for example, write it on your back to see if you can remember it, and then train your pen movements and refine your writing from the aspects of speed, truth and proportion. , targeted and purposeful training to write every word thoroughly, that is, from birth to maturity and then back to various transformations.
Fourth, the core things will never change.
The core of calligraphy will never change. No matter how the words are written, the key parts should be controlled. Don't worry about exaggeration outside the key parts. It depends on the middle part to determine the China square characters, so is any one. All exaggerated strokes are uncontrolled, irregular and unrestricted. Where did the changes in ancient Chinese characters come from? In fact, the different exaggerations of exaggerated strokes lead to different styles. Similarly, in the square, different monuments and different posts have the same rule, that is, formal beauty. The basic structure of its * * * part is dead, with only slight changes. This is a principle.
Why are some words always poorly written? It's just that the internal strokes are not well written The thickness and size of internal parts can be different, but they must all be evenly arranged. You can exaggerate or reduce the proportion, but you must write evenly, which requires interest and variability. You have to have this principle first, and then change it after you master it, like this? Zhang? Word, let's draw a square, and the part inside the square is the core part, unchanged. Bow? And then what? Dragon? Some strokes in the box have been changed to make them more interesting. Isn't it a move, or a novelty? What if? Bow? The hooks of the second horizontal painting and the third pen are exaggerated to the left, and then what? Dragon? Drawing horizontally and pressing right is a bit exaggerated and stretched, making it a ritual vessel or Cao Quan, and so on, as are other characters. Therefore, the methods of posting, observing, thinking and training should be changed.
Fifth, learn to be willing. When you create, you should learn and use.
Writing couplets is so big, the strokes should be bold, and the strokes on the original post are so thick, but you exaggerate the words by five or ten times, and only exaggerate the strokes by two or even the same. This is not good. Learn to use it flexibly when creating, and make some adjustments when creating, such as this? Painting? Words, light above, thick in the middle, and then highlight the style of the monument below, that's all.
Your invitation lacks a direct process. You should write it in the image according to your writing style, in the familiarity behind it, and then in different rooms according to your writing style. Although it doesn't look like it, it looks like it at all, and then it doesn't look like it at all, between similarity and dissimilarity. When we digest the ancients, this kind of image and difference is not superficial, but spiritual and principled. That is to say, you lack a link and didn't digest it when posting. Of course, there are ways to digest, such as this? Glue? Word, when you are ripe, you must digest it, for example, in virtual reality, shade and interest. You see, after writing, it's like, absolutely not like, not like every specific stroke, but the aesthetic feeling is still it, no matter how to change it, just use some points here to deal with it. This is not microscopic, but macroscopic. Be sure to understand the principle. It is useless to copy the ancients directly. Copying with the ancients has no brains. You are just the hand of the ancients. You must be the brain of the ancients. You should learn the principles of the ancients on the basis of them. After learning the principles, methods, standards, laws and basic techniques, you have to be a processing factory, thinking, researching and experimenting. Scientific experiments and reasonable experiments are effective experiments, so that you can use them in creation.
Six, don't craft and model the words, but restore their natural state.
When the ancients wrote, they were not creating. Traditional culture is based on Confucianism, which advocates courtesy, measures their words and deeds, and gestures when walking. This is called a restriction. Feudal rule is the kind of restriction decided by the rulers, and the development of China's calligraphy has never left the consciousness of the rulers. Therefore, there were many rulers in the Northern and Southern Dynasties, and Weibei was varied. The emperor praised Wang Xizhi. 1700 For many years, people have known that Wang Xizhi's calligraphy is good, which is based on the consciousness of the rulers. So, what beauty does it pursue? It is the beauty of dignity and harmony, that is, standing and sitting with respect and solemnity. The beauty of harmony means that all changes in calligraphy are in the theory of yin and yang, and harmony comes from the coordination of yin and yang. Therefore, the harmony of Yin and Yang is the charm of calligraphy, and modesty and preciseness are the atmosphere and core of calligraphy.
Why many people can't get married when they engage in calligraphy? They just think that it is their own business to engage in calligraphy. That's what I wrote, as long as I feel good and willing to write. In fact, if people write without thinking, if they are all ancient people, it will be noble, so calligraphy is a big culture. Zhang Qianbei's interest lies in form, interest and the change of stroke position, not the change of gesture, but the change of font structure, which is the destruction of proportion and stroke position, not the problem of gesture. Cao Quan is writing, but Zhang Qian is not. To understand this, it is necessary to restore this natural state when writing.
Cao Quanbei
In addition, official script has a strong aesthetic feeling, so there is no need to enhance this form of aesthetic feeling, otherwise it will make the characters technical and modular. The advanced degree of official script should be to weaken the aesthetic feeling of form, not to strengthen it, and completely turn it into a natural writing state, increase the fluency of the pen on the paper, and increase the flexibility at the same time, just like music, which is fast, urgent, heavy and energetic. At present, most calligraphers write in a mode, which is the most troublesome and may be brilliant for a while, but this glory can't last for three years, that is, it only pays attention to formal beauty and patterning. Just like the fresh Yellow River, the changes of stone tablets are getting simpler and simpler. Simple means straightforward, that is, simple, so simple that there is no idea at first glance, but when you think about it, there are more ideas. Therefore, real art has two States: one is mature, completely rational, formal and legal; The other is irrational, immature in art, French but not rigorous, just like a child walking, still not neat, but those steps are particularly cute.
What we are pursuing now is something rational, rigorous and regular in art, which, as a norm, stipulates the attributes of ontology, such as fairness, dignity and solemnity. But the half-baked power and unadorned power of art are the interest, realm and taste of art. Is it mature for a two-year-old child to make an action? Immature. He can't explain clearly when he speaks, but you think his actions and words are very tasty, funny and cute. This is what you seek, which is reflected in immaturity and naivety. Our eyes should not be fixed on contemporary calligraphers all the time, but should be more dedicated to finding and restoring its natural state from inscriptions. For example, the Zhong Sun Hidden Monument unearthed in Gaomi is small in scale, but simple in content and lovely in charm, which is advanced among the Han Monuments.
Hidden Epitaph of Zhong Sun Unearthed in Gaomi
The greatest contribution of official script in Qing Dynasty is to turn the lettering of tablet into ink and the carved words into written language. Writing itself is a way of reduction, which is unique in the Qing Dynasty. Another interesting thing, such as Zheng Jiakou's smart energy, Chen Hongshou's wild energy, Deng's calm energy, Zhao's strong energy and Yu Quyuan's gentle energy, can be learned, but the real rules must be learned from Chinese characters.
Seven. Monument to Yin and Monument to Yang —— Complementarity of Interests and Statutes
There are two kinds of steles in Han Dynasty: Yang stele and Yin stele. Their background knowledge is very helpful for us to read and paste posts. You should be able to understand what is on the post. Beiyang is a word, for others to see, and Beiyin is an explanation. The ancient inscriptions are always positive, standardized and rigorous, and the back is random, without so many restrictions. There is a rule about the external monument, and they don't pay attention to the dark side.
Yang in the Yellow River Monument in the Eastern Han Dynasty
The front of the tablet is written with words, and the back of the tablet is described, such as who paid for it and who carved it; There is also a kind of writing on the tablet when the words can't be written, like a sacrificial tablet, and the side of the tablet even uses too many words. Generally speaking, the tablet seal is a kind of verse, a four-character rhyme, which is catchy to read. It is also a style of sculptor. There are two kinds of Chinese and Indian knife techniques, one is rigorous, the other is urgent printing, such as general printing, which is made temporarily and must be chiseled out immediately without modification to form urgent printing.
Beiyang characters are exquisite, and the engraving is exquisite. Speaking of tablets, they are not exquisite, and he is not exquisite, so he writes casually. This exquisite casualness also embodies a knife method. Therefore, the east and west of Beiyang should be regarded as norms and statutes, and the novelty of Beiyang should be regarded as a means of change. To learn from Beiyang is to learn the law into rules. His brushwork is rigorous, delicate and delicate, and the standard of starting, using and collecting pens is the ultimate monument, while his interest in learning is generally to learn from Beiyang. The front is strict, boring and rigid, and the back is poor and interesting, which just complement each other. Although Beiyang's rules and regulations are rigid, he also tells you a sense of change. Although this kind of consciousness is not as lively and brisk as Yin Bei's, it can be changed by Yin Bei's pen-closing state, and the rigidity of the former method can be changed by the later things. And blindly exaggerating and thickening, in fact, is not a change, but only makes people see a kind of confusion and ambiguity in our thinking. When you understand this, you will learn the rigorous statutes and standardized techniques when posting in Beiyang, and also learn Yin Bei's spontaneous personality and artistic interest. The combination of the two makes the work solemn but not dull, light but not frivolous.
Eight, there can be no problems in the post, and the creation will always be in an upward state.
Inheritance and creation, temporary paste is inheritance, digestion, purpose and thought, which is the second creation of the ancients. Why don't young and middle-aged calligraphers who have made some achievements disappear in three to five years? When he studied hard, he was a man with his tail between his legs. When he started to contribute, he could even find 800 people to watch and consult. At least once or twice, he became himself, and he didn't find anyone to read it again. Then his own habits came out. If he wrote according to his own habits, there would be fewer ancient laws, and even fewer ancient laws would be written. There are very few people who have won calligraphy awards for five consecutive years and stood in front of their own creations for five consecutive years. Basically, it will be gone in three or four years, and it can last for ten years, and it is very creative every time. There are very few such people.
For more than 20 years, how many calligraphers who became famous in the 1980s are still at the forefront of creation? A slap is not enough; It's not bad that you can count dozens of calligraphers who became famous in the 1990s. Why? Everything is for the post. Artists in the history of China, not to mention masters of art, must meet three conditions as long as they can stay in history: first, they are always in an upward state in their creation from their debut to their death; Second, all his creations, including the publicity of his personality and the formation of his appearance, are based on a sublimation of tradition, rather than destroying the traditional model; Third, all artists are thoughtful, not playing with fonts, but playing with ideas.
If you want to be a master, you still have to have insight and identity. You will always be the most active person in the calligraphy art world, and you have a great influence on the artistic development of the whole country and even the whole world. That is the quasi-master, who has been at the forefront of artistic development since his debut. He is a man of the hour, leading the creation all his life. Coupled with his social status and unique theory, his thoughts and concepts are always ahead of others, like Zhang Da. Therefore, we should arm our minds with rules, train and summarize with a belief scientific analysis, take what we should take, give up what we should give up, and have goals. I will know what others have done, and I will never think about what others have not done, no; You should be a person who has never done it before and let him follow you all the time.
Nine, through learning to understand the laws and meanings of things, so as to obtain a principle.
I study in Miffy. See this one in Miferi? Feng? Words, from the direction, the first stroke is slightly higher, the second stroke is higher, and the third stroke is higher. These three strokes just run in three different directions, and the directions cross each other. This is the direction in which the pen moves. Is it a simple rise or a decline? Not exactly. Wrap the pen at the same time, so move these three pens. Generally speaking, there are ups and downs, and generally speaking, it is a little up. Every stroke is more energetic, just like I pulled you over. You want to come over but don't want to come over yet. You are trying. This is elasticity, a kind of strength, which is produced by the shape limitation of strokes.
Which direction does the former reflect knowledge, while the latter? Stretch or twist? The package of the pen embodies an internal skill. What is reasonable? One is to write the direction of the pen. The other is to write out this strength, elasticity and potential, and then write out the meaning. As for the length and width, it is not the main factor. So this is a technical requirement. This technology tells you not only a state of movement, but also a state of life. Therefore, writing words vividly is a living thing and a breathing thing. If it is, as long as this gesture is written, how to write it is Mifei. Why, it is to use the pen and habit, control the straightness with the pen technique, and have this gesture, which is consistent with the whole meter; And if we change the way, such as this place is exaggerated and this place is wrapped, it is not rice but Yan, or even Yan, so does it have anything to do with rice? It's just that Yan has more things wrapped in pens and less things wrapped in rice.
Yan's painting style is mostly round brushwork and brushwork, while rice is less round and more subtle. He is more like a thunderbolt folding pen and sharpening pen, so Yan's handwriting is much rounder, while the rice is much thicker and steeper. So the artistic style is determined by the brushwork. On the one hand, a little exaggeration becomes a face, on the other hand, a little strengthening becomes a face.
What we really care about in learning is not technology, but its ideas, methods and principles. We don't just pick up the pen and copy the post, and even hum a little song. Can you write it well? How did the gap between all of us in writing come about? A person who writes very well is definitely an expert on it. He constantly studied, analyzed, experimented, summarized, tried again and summarized, and through the study of font structure, he came to a principle, including pen gesture and word gesture. This is the real temporary post, unlike what some people say, other elements have nothing to do with the post. Therefore, the point of posting now is wrong. When you want to write, the teacher may not say yes, and when you don't want to write, the teacher may not say no. This is why, because the key to good or bad is not whether you like it or not, but whether it is reasonable.
X. Seeing is the key to opening the world —— Grasping the life state of words from the dynamic potential
For the importance of the situation, the position does not require you to face many images, but to take its external situation and internal character. Skills tell you not only the state of exercise, but also a state of life. For calligraphy, discerning people pay special attention to the situation, that is, to grasp the state of movement. Folk writing generally focuses on the physical structure, but not on the physical structure professionally, but mainly on the word potential and pen potential.
Wang Xizhi's Preface to the Lanting Pavilion is euphemistic, subtle, beautiful and beautiful. Later generations commented:? If you are floating in the clouds, if you are scared? Potential mainly refers to a kind of strength or posture, which must be a state of motion. People have a certain strength or posture, which reflects a certain mentality of people. A word has a certain strength or posture, which reflects the appearance of the word. Appearance reflects a state of motion, but it tells you something inside and gives a character to a stroke or a word. This is to write the words vividly, write a state of life and catch my breath, such as Mimi's:? Win? The word, left low and right high, these three vertical strokes, not straight up and down, not vertical, but a little oblique, generally have the feeling of jumping up and down, but also horizontal. As long as you write this meaning, you can write it freely. No matter how you write it, as long as the word potential comes out, others will know that it is Mifei. Miffy is good at creating dangerous situations. Every stroke is moving, and it is also very powerful and particularly interesting. Therefore, it is necessary to grasp the movement and life state of the characters by paying attention to this kind of character potential and stroke potential, and show a unique appearance.
Xi。 Wang Xizhi's contribution provides an aesthetic space for China people to write with a brush.
When writing Wang Xizhi's running script, the brush used for writing was too long and hard. The ancients didn't have long hair before the Ming Dynasty, and the classic posts were basically before the Song Dynasty. Before the Song Dynasty, there was no long hair or wool. Writing Wang Xizhi, first, the pen should be hard, second, the writing style should be moist and elegant, that is, implicit. Wang Xizhi's main contribution is to provide an aesthetic space for China people to write with a brush, that is, to inject a cultural atmosphere, that is, every stroke and every word carries a cultural concept in it. Restricted writing is rational writing and thoughtful writing. Therefore, Wang Xizhi's contribution is this, not that he left the preface to Lanting Collection or other inscriptions to future generations. He is not a technology, but a theory. Therefore, to learn from Wang Xizhi, we must first grasp his calligraphy characteristics, calligraphy theory and calligraphy rules, which is why all people who study calligraphy can't bypass him. No matter what happens, you must follow Wang Xizhi, because if you don't learn from Wang Xizhi, you won't get the elegance of words and the spirit of literature in the end.