20 17 12 I began to practice "Kai Wei"-"Zheng Wengong Monument" intermittently. I write less than three hours a week, and I practice it about three times. Obviously, my own handwriting has changed a lot. The biggest gain in this process is that I learned to use a pen in the center. I used to write about flank, but later I read related calligraphy papers. What the center brings is the change of pen holding posture. I can't explain why before and after this. Now the pen holding posture is: the palm is not hard, the thumb and forefinger hold the pen, and the middle finger and ring finger stick the pen. The progress of these months has given me great confidence, and even my friends from the Book Association (hereinafter referred to as "buddies") have repeatedly praised me, which has made me spend a lot more time on calligraphy than before. 20 18 let's start in April and March. We spend more than six hours on calligraphy every week. Before that, I had been practicing calligraphy for nearly ten years and was disappointed with my progress. I almost gave up at that time. After writing for so many years, it's boring to write like that.
Before practicing the Zheng Wengong Monument,
In the process of practicing "Zheng Wengong Monument"
Through the practice of Zheng Wengong Monument, I rekindled my love for calligraphy.
/kloc-in April of 0/8, one night I was writing and writing, and suddenly I felt that my brush was much lighter. Then I drew two strokes casually and found that I could control the brush at will and write at will. The wrist is also more flexible than before. This is a great breakthrough and progress for me, and I feel it myself. It's a pity that I didn't take pictures at this time, otherwise I could enjoy it myself.
In May, for some unknown reason, I began to indulge in Wang Jianzhi's epitaph, and began to feel that Wuding's Preface to Lanting was the closest to the original. Let's talk briefly here. Wang Jianzhi, the younger brother of Wang Xizhi, died at the age of 40, but the epitaph was not written by Wang Xizhi. Through the practice of Wang Jianzhi's epitaph, I learned something about the other pen and the round pen. At the same time, after knowing that I could master the writing brush completely, my brother began to advise me to practice Yishan tablet and Baicaotang on the grounds that seal script is the basis of all calligraphy. After you can completely control the brush, the foundation will be more solid at this time.
? When I came into contact with Qin and Han tiles in early June, I felt that the words written on Qin and Han tiles had a special charm, especially the feeling of seal script. From June to September, I mainly practice the epitaphs of Qin and Han Dynasties and Wang Jianzhi, and occasionally practice Yishan Monument and Baicaotang. In this process, the unearthed Qin and Han bamboo slips were exposed, and the "pen power" was rapidly improved. The skills of "breaking pen", "dragging pen" and "collecting pen" were also learned or matured during this period. I used to turn the pen with my fingers when I met some strokes. At this time, I can adjust the stroke and thickness at will.
/kloc-From mid-October, I began to read Selected Calligraphy Papers of Past Dynasties, and continued the Selected Calligraphy Papers of Past Dynasties. My brother gave it to me before. Actually, I am very grateful to my brother. He has been silently supporting me for years. To tell the truth, I haven't finished reading the two books here so far. Basically, I read them selectively. When I encounter any bottleneck or difficulty, I will go and have a look, sometimes I will solve a lot of doubts, but more often I have a little knowledge or even don't understand. When writing such papers, the ancients liked to use various metaphors, such as "Crouching Tiger in Quelou", "Wan Liyun Array" and "Taishan Collapse". Some metaphors say that they have never experienced it. I really don't know what the ancients are saying. What I remember most is a sentence: there is a wonderful thing in the ancients that has not been passed down, and it needs future generations to be diligent and enlightened. Since then, I have spent more time on calligraphy, at least half an hour every day.
18 1 1 month, something happened at home, and I was in a bad mood and depressed. I didn't write for almost a month and spent most of my time in the library. I came into contact with the inscriptions of the Eastern Han Dynasty, such as Kai Xie Xie Lu Bei, Xi Xia Fu, Ting Zi Fu, Shimen Ming, Shimen Fu, Zhang Qianbei, Li Ji Bei, Cao Quanbei, Shi Chenbei, etc. I fell in love with Han Bei at that time, and it has been out of control since then, especially. During this period, I paid attention to the official WeChat account "Xuehao Calligraphy", and saw many excellent works and theories in the official WeChat account "Xuehao Calligraphy", which also made me gain a lot and gave me a clear direction to pursue, especially Yu Youren's "Facing Shimen inscription, writing 20 pieces at dusk, working hard for collection, crying every night". I was deeply moved. From then on, I began to cultivate Shimen Ming, Kaiping Xiedao Monument and Longmen 20 products. The most frequently practiced skill in "Twenty Styles of Longmen" is "the beginning of the statue", and the skill of "wanting to be right first" is learned in this process. Painting mosquito-repellent incense and squares was also learned during this period. It is possible to draw mosquito-repellent incense and squares to enhance the pen control ability. It is estimated that I like to keep writing and drawing with my fingers when I walk, which is also a habit developed during this time.
From February 65438 to March 19, I spent most of my time in contact with Ode to Shimen. Ode to Shimen is an official script, but there are traces of bamboo slips and seal script in Han Dynasty, which was quite interesting at that time. Because most of the strokes in Ode to Shimen are straight, it also leaves a little foundation for seal script. From March to April, I can feel that I have made obvious progress.
From May to September, I feel that my handwriting has not improved much, but there are still two problems: I don't pay attention to collecting pens at ordinary times. I feel sorry for myself here. What have you been busy with these months, or are you asking too much of yourself! In this process, my brother often said that my lines are not textured enough and the lines are too bad. I've thought a lot about this problem, but it's always solved. By 10, I had asked many questions with my brother. The problem of line texture seems to have improved at present. ? Today, I feel that "learning calligraphy well" can no longer satisfy my curiosity for calligraphy. If I want to make greater progress, I need to continue to look at the famous inscriptions of past dynasties, especially those from the Eastern Han Dynasty to the Northern Wei Dynasty. It is possible that I will take the road of "monument school" in the future. ?
I remember my original dream was to be a calligrapher. Now my dream has become an ideal, but I think this ideal is too illusory. After all, a calligrapher is a title, not a profession. Calligraphy has too many things to combine. Classics and subsets of history, philosophy, aesthetics, etc. , as well as their own morality and self-restraint. Does joining the China Calligraphy Association make you a calligrapher? There is still a long way to go, Xiu Yuan!