Hao penglei
Xiong 'an, Hebei Province, bachelor of Hexi College, studied under Liu, member of China Calligraphy Association, member of Gansu Calligraphy Association, lecturer of Hexi College, and vice chairman of Zhangye Calligraphy Association.
In the study of calligraphy in recent years, there are some personal feelings. In fact, sometimes chatting is also a very informative way. In fact, calligraphy has been explained in detail in the Book of Past Dynasties. After studying for such a long time, I have a little personal experience, which may also be wonderful for the ancients.
The key to good calligraphy lies in the speed of aesthetic transformation. The so-called fast learning is to change one's aesthetics quickly through observation and writing, so that it is close to or even the same as the person being copied. The so-called talent, I think, is its innate or early aesthetics, which is highly similar to the aesthetics of the ancients when they wrote with a brush.
Because everyone's writing habits, glyphs and so on are carried out according to their own aesthetic taste. This truth can be simply said that one person's words will have different aesthetic results in the eyes of two people. This is the problem of aesthetic similarity. Therefore, to learn calligraphy well depends at least to a great extent on changing aesthetic habits.
Here's another word, arrogance. In fact, all kinds of skills pursue such a realm and height. In calligraphy, when you see a word, you don't know how to pronounce it, but you can watch it rise, stroke, turn, astringent, fly white and close. Among them, the analysis of brushwork shows that this is called arrogance, which is from the perspective of temporary posting. From the creative point of view, we should consider many issues, based on the overall layout, including the echo from beginning to end, the font size, the coordination between words, the length of the inscription content, the combination of yin and yang in the seal position and so on.