Sticking is the only way to learn calligraphy.
The only way to succeed in learning calligraphy is to write calligraphy posts before the sages, and it is futile to pin your hopes on anything other than temporary writing, but the prevailing calligraphy thought at that time did not think so.
The prevailing calligraphy thought holds that: first, the level of calligraphy achievement is mainly determined by nature, rather than acquired learning, that is, the so-called "talent comes first, read more, write more and then come again." Second, the image of calligraphy comes from natural objects, that is, the so-called "book comes from nature"; Calligraphy images must express natural images, that is, the so-called "anyone who has vertical and horizontal images can be called a book." Therefore, it is considered that learning calligraphy, like learning painting, mainly lies in "learning from nature" rather than "learning from the past". Third, calligraphy can not only express the spirit of the times other than calligraphy. Therefore, how to grasp the spirit of the times outside the book is the key to the success of learning books. Fourth, because "the book is a painting for the heart", "the book is like a person", "the book values people" and "the character is high and the quality of the book is high", so "the kung fu of the book is mostly outside the book". 5. To make a book, it is natural to have the nature of calligraphy works, and "copying for a long time, prejudice in the chest, occasionally want to shake it, but can not be independent." (Liang "On") 6. Tradition fetters innovation, and to innovate, we must abandon tradition. Seven, although we can't abandon the tradition, we can't stick to it. We should first devote ourselves to inheriting the tradition, and then to breaking it, that is, the so-called "getting in and getting out", so as to achieve "no one has ever come before."
After discussing the calligraphy ideas such as learning books and talents, natural images and calligraphy images, spirit of the times and style of calligraphy, outside books and inside books, and carrying forward the tradition to achieve innovation, the conclusions are almost tit for tat: First, the actual situation of learning books is very different, so it is actually impossible to prove whether the success of someone's calligraphy is due to talents. Therefore, everyone should pin their hopes on the study the day after tomorrow. Second, to learn painting, we must learn from the ancients and nature, while to learn books, we only need to learn from the ancients, not nature, because calligraphy has its own characteristics. Third, the style of the calligraphy era can only reflect the calligraphy atmosphere of the times, that is, the spirit of the times of calligraphy itself, but not the spirit of the times other than calligraphy. Fourth, "book is the heart" can only "draw" people inside the book, but not outside the book. 5. "Books are like people" is not a way to appreciate books, but a metaphor of written language. 6. "Books value people" is not a way of commenting on books, but a social natural phenomenon "outside books". Seven, "works outside the book" is conducive to the success of calligraphy in people's minds; It is not conducive to the success of calligraphy itself. Eight, the nature of the book trace can be divided into calligraphy and non-calligraphy. Calligraphy is naturally the result of learning from predecessors, but it must be unnatural in the process of learning. It must be the nature of non-calligraphy to cancel the unnaturalness in the learning process and reach the nature in one step. 9. Tradition is to teach people how to change stippling, which also leads to structural changes. Therefore, the deeper the tradition, the more innovation. The so-called unfamiliarity is not caused by traditional medicine, but that medicine has not yet arrived. Learning calligraphy has always been considered to be related to anything other than calligraphy, so I pinned my hope of learning calligraphy well on "outside the book". I cut off this relationship and pulled it back to "inside the book"-writing is more important than engineering, and calligraphy is self-enlightening. "In fact, this is Zhang Xu's idea of learning books, not my new discovery. My clumsy articles above are nothing more than arguments about why we should "study hard and improvise". Calligraphy can only rely on since the enlightenment's "hard practice". Zhang Xu's thought of learning calligraphy can be found in Yan Zhenqing's "On the Twelve Meanings of Zhang Changshi's brushwork": ... all teachers seek brushwork, or some are wonderful. I studied under Zhang Gong in Chang 'an for a long time, but I didn't get any instruction, so knowing is the way. When people ask about the brushwork, they laugh when they open their bows, and cursive script, or three or five pieces of paper, will be scattered on a whim, even less people with words. I will travel to Charlotte again, but I won't replace you as soon as I see you. The servant asked Pei, "What did you learn from the teacher?" He said, "But I have several books, silk and ordinary screens. I also tried to talk about brushwork, but the words are more technical and calligraphy is since the enlightenment's ear. " The servant stopped at Pei Nai's house. In the afternoon, because he parted ways with Pei Nai in the long history, he went back to prehistoric times and said, "I have been lured by the Nine zhangs Award, and the sun and the moon have been deeply nourished. I have been working hard at night and addicted to calligraphy. Although I have always been unstable, if I can sniff out the essentials of brushwork, I will eventually learn from you, so that I can be wonderful. I don't want to feel it. " The long history was silent for a long time, but he looked around and looked up. The servant belongs to the small hall in Dongqikulinen, with a bow sitting on the bed in the hall and the servant living on the small couch. He said: "The brushwork is mysterious and difficult to teach rashly. Isn't it wonderful to be a master without ambition? Books seek energy and attack real grass. Today, to teach children, we must think about this problem. "However, he said," When a husband is flat, he is horizontal. What does the son know? "The servant thought about it and said to him," I heard that every nine-foot-long flat painting must have images in both vertical and horizontal directions. "Isn't that what it means?" Chang Shi smiled and said, "Naturally." Then he said, "Naoko, Naoko Zhihu?" Yue: "Didn't you say that straight people can stand upright and don't do evil?" "Long History" said, "Ran". ..... Why "everyone laughs when someone asks about the brushwork" and doesn't answer? Because "the brushwork is mysterious and difficult to teach." The only way to know is to work hard and write by yourself. However, it's not that Zhang Gong didn't teach. After laughing, he made a demonstration on three or five pieces of paper, making the students "say nothing", but saw him waving a pen and "getting a few books and screens" as a model for Linchi. Why does Zhang Gong only demonstrate without talking? Because the writing action and calligraphy image are difficult to "speak beautifully" in words.
However, if the other person is an expert in calligraphy, then his brushwork is mysterious, but it is still wonderful. When Yan Zhenqing asked about the essentials of brushwork, Zhang Gong was "silent for a long time"-what was he thinking? Zhang Gong considered that Yan Zhenqing, a student, had the practice of "writing in the face of engineering" and "studying hard all night and indulging in calligraphy". Presumably, "since the enlightenment" is almost finished, and he is already a man with lofty ideals in calligraphy. So he "shine on you" decided to "teach today" and let the students talk about "twelve meanings of brushwork". Sure enough, this dialogue between teachers and students is very congenial, because they are all "people with lofty ideals" in calligraphy.
But Yan Zhenqing didn't get any new knowledge from this conversation, but learned the truth from "since the enlightenment" through "day and night efforts". However, for people who are not yet "since the enlightenment", the "twelve meanings of brushwork" of this language cannot solve specific problems. I would like to ask: "There are images in vertical and horizontal directions". What is "image"? "Don't make evil songs", what is not "evil songs"? Any language can describe an image, but it can never replace the image itself. Describing an image in language can only arouse the other person's memories of the image he has obtained, but can't make the other person get a new visual image from it. Therefore, those so-called calligraphy theory who describe the image of calligraphy in language are not good for learning books. This is another reason why we should "just talk and not write". Or ask: besides writing temporarily, there are other ways to learn ancient sages' legal posts, such as reading posts, filling posts, copying, leaving blank, memorizing posts and so on. Why do you just say and write temporarily? Let's discuss this problem below.
First, temporary writing
"Pro" is to face the observation of Fatie and learn from it. Copying is essential for learning calligraphy, so "pro" means "pro-writing", also called "copying". Temporary writing can cultivate learners' ability to observe, express and remember calligraphy images. In temporary writing, the brain gives instructions to the eyes to observe a law post. This instruction has a framework-either a beginner's prejudice or a learning experience. After the eyes feed back the calligraphy image information of the calligraphy post to the brain, the brain compares the information with the original prejudice and corrects the prejudice, and then stores it in the memory warehouse. On the other hand, it instructs the hand to execute the information and instructs the eyes to supervise the execution. After implementation, the brain selects the information of hand experience and eye supervision-failure or success, and then stores it in the memory warehouse. When writing this post again, the instructions given by the brain to the eyes and hands are the revised new instructions. The brain has the functions of directing observation and writing, memorizing calligraphy images and distinguishing calligraphy images. Repeated improvisation enhances these functions. The enhancement of memory ability is conducive to the expansion of memory warehouse at a faster speed. Expanding the memory warehouse will provide a reliable comparison standard for calligraphy appreciation and become a rich source of self-writing. Eyes not only organize a large number of calligraphy images for the memory warehouse, but also make themselves have accurate and agile observation ability. Through repeated temporary writing, long-term instructions from the brain and supervision from the eyes, the hand has strengthened its ability to express the image of calligraphy, and finally formed a set of writing habits. Writing habits, eye supervision and framed instructions in the brain are unnecessary for opponents, and often appear absent-minded, so that hands can be more independent and writing effect is better. At this level, he is a complete calligrapher.
Second, read the post.
Zhu's "Continued Book Broken" says, "Taste the tablet and observe it. Walk a few miles and come back. And tired, it is cloth to sit and wait for it, and it will take three days to get the dharma, so it is also fine. " This is an example of reading a post. Calligraphy, as a visual art, must be observed in appreciation, appreciation and writing. However, appreciation focuses on the feeling of the artistic effect of calligraphy image, and appreciation focuses on the identification of the artistic effect of calligraphy, so that we can only know what it is, regardless of why it is, and learning books is "getting the right method." How this calligraphy image came into being must be observed. This observation is generally called "reading posts". The content of "reading", as Zhu Hegang's "New Interpretation of Linchi" said, is "the beginning of words, the beginning of pens, cadence, lingering left and right, up and down." Another example is Sun's "Book Score": "Between a painting, some ups and downs; On a small scale, this is very frustrating. "
Reading posts is not only to explore skills, but also to facilitate memory. How can we help remember Fa Tie's calligraphy image? First of all, like Ou Yangxun, we should have reverence for the ancient sages' calligraphy posts we read. Respect it, and the enthusiasm of memory cells can be fully mobilized. Ou Yangxun has great respect for Suo Jing's inscription, because he has considerable appreciation ability. Beginners have a strong appreciation ability, so they can't sincerely admire the ancient sages' calligraphy posts, so they have to blindly worship them first-I believe there must be beauty that they can't understand. Secondly, we need to sum up some rules to help us remember the unpredictable stippling image and stippling organization image of the law post. This must be the case, and the unchanging, circular and universal calligraphy image is the law. The ever-changing image of calligraphy is bound to change in this unchanging law. Then, Fa Tie's calligraphy image is linked with the image he first remembered, which is also beneficial to memory.
However, repeated observation and repeated memory are the most fundamental. That is to say, regardless of its laws, although the memory effect is poor, it is easy to reveal it naturally in writing practice after repeated practice, and inadvertently coincides with these laws. Unintentional law is like a river, which is formed naturally and flows naturally; Deliberately summarized rules are like artificial drawers. If you put a calligraphy image in which drawer when reading a post and take it out from which drawer when smearing it, you must think about it, which will not meet the highest requirements of actual writing. For several frequent calls, because the gestures are familiar, as long as you think of the other party, don't think of their numbers, and press the customary gestures to be accurate. The highest requirement of writing is this.
Calligraphy is a practical art, it is not enough to know what it is, but reading posts can only solve the problem of knowing what it is. Huang Tingjian's On Books said: "The ancients did not copy books completely. Ancient Zhang wrote in the wall, and when he was fascinated, he wrote as he wished. " But "observing" can be "absorbed", and after "absorbed", it can be "written smoothly", which is not something that beginners can do. Beginners can't be "fascinated" because their eyes have not been strictly trained in writing, nor can they "write as one wishes" because their hands have not been strictly trained in writing. It is true that for some books, beginners can "be fascinated" and "write according to people's wishes", but these are books with no artistic level and therefore no technical difficulty. This practice is often limited by objective conditions. For example, Ou Yangxun still didn't start work after reading the inscription written by Suo Jing for three days. Because he happened to pass by and found this monument, but he didn't take Four Treasures of the Study with him in advance. Otherwise, since he is sincere, he must write a phone call-even if he is confident in his ability to perform the contract, he can test the effect of "winning the law" by writing!
Third, cross-check.
Cover the French post with a piece of paper, tick the outline first and then fill in the ink. This method is called "cross-filling" or "double-hook outline filling", which is also called "couch book", "copy book" and "model book". Mi Fei said, "Feng Chengsu, Han Daozheng, Zhao Mo, Zhu Gejin, etc. all gave it to the princes after Emperor Taizong got this book (according to Preface to Lanting)." The "model" here refers to blending. The pen used for the hook should be small. The smaller the pen, the thinner the outline of the hook, so the smaller the error. Paper must be transparent to see clearly. Now you can copy back the paper, but in the Tang and Song Dynasties, "hard yellow paper" was used. Lu You wrote a poem, "The famous post is hard, and the couch is yellow". The paper is made of phellodendron amurense and batik, which makes the paper hard and yellow and the firefly transparent, hence the name "hard yellow". In order to improve transparency, it is now possible to copy the back box, install electric lights and put glass, while the ancients used windows for lighting. The original meaning of the word "Xiang" is the window facing north, so the tatami book is called "Xiang couch" when it takes light from the window. It is said that Mo Bao handed down by Wang Xizhi was copied in this way by the Tang Dynasty. When copying a book back, wrinkles will appear on the paper if the ink receiving area is large and the ink is dry. The back copy paper is wrinkled, so there is a gap between it and France, which affects the clarity of stippling next to it. This kind of regret can be checked first and then filled in. However, checkmark padding is suitable for large characters. If it's small, because the ink receiving area is small, it won't affect the clarity if you only fill in the box, but the effect will be better if you finish it at one time. Because of the double hook, the error of ink line in and out is inevitable, and the small strokes are small, so it can't stand this error. And where the pen is dry, the ink spot is very small. How can you double hook? Only fill in the box, pay attention to the outside of the stippling when filling in, and the error will naturally be greatly reduced. When I was young, I copied more than 20 Max Zhang Tang and Song law posts, and filled them all in, but I didn't take the bait. (Attached Figure) Because the paper is smooth, it does not gather ink or leak ink, so the ink should be thick when filling, otherwise messy pen marks will be exposed in stippling.
Cross-filling means keeping historical sites for reference. From this point of view, now that printing is booming and copiers are everywhere, who wants to use this stupid method! It is true that cross-filling can force careless learners to observe the nuances of stippling, so it is helpful to remember the images of stippling accurately. However, if the learner's attitude is extremely serious, then it is certainly more conducive to observe the nuances of stippling without cross-filling, because cross-filling is separated by a layer of paper after all.
Fourth, copy.
Jiang Kui's Continued Book Score. Copying said: "Copying books is the easiest. Emperor Taizong said,' Lie on paper and sit on Yan Xu's pen', or he could laugh at Xiao Ziyun. Only novices have to copy and save their hands, which is easy to achieve. " He said "copy". Ticketing is also called copying, because it is also sitting on the legal post with pen and paper, but this is a copying technique, not an artistic practice. If you want to "write", the stippling of the law post must be a stroke and accurate, so as to have the effect of "saving hands". In other words, imitation can train the hand's expressive ability, and it is an effective experience of the brushwork of French posts. The specific methods of copying: first, tracing red; Second, cover French posts with thin paper that does not participate in ink. If the paper is impregnated with ink, a layer of polyester paper with excellent transparency can be separated from France Post. After copying, the residual ink on polyester paper can be wiped off. Jiang kui also said: "Linshu is easy to lose the position of the ancients, but more ancient brushwork;" Copying books is easy to get the position of the ancients, but it loses the meaning of the ancients. Books are easy to enter, books are easy to forget, and they are casual. "(ibid.)
Improving the effect of handling affairs due to external reasons is often not conducive to cultivating one's own ability, so one has to take a bus to achieve remarkable results and walk to improve one's ability. The same is true of studying books. External reasons improve the effect, which can stimulate temporary interest in learning calligraphy, but it is not conducive to cultivating calligraphy ability. If you just want to copy the French post, any pro-book expert can't compare with the copier; If it is to gain calligraphy ability from calligraphy posts, it is better to scribble or copy.
In fact, this is about the effect of copying, not the cultivation of writing ability-the easier it is to get the effect, the more unfavorable it is to the training of ability, so he added: "Copying is easy to forget" because "inadvertently". What is inadvertently copied is the structure (that is, the "position"), which is of course easy to forget. However, the writing method of stippling (that is, "brushwork") can not be ignored, so it is not easy to forget. Therefore, from the perspective of the cultivation of learners' ability, the gains and losses of copying are just the opposite of what Jiang Kui said-copying blindly, once transported by oneself, will easily lose the status of the ancients and gain more brushstrokes of the ancients. The so-called "book is easy to lose the position of the ancients" also refers to the effect of copywriting-the more difficult it is, the more it needs to be understood, and the more it understands its position, the more it can gain the ability to grasp. Therefore, in grasping the position, it is "easy to enter" and not "easy to forget" than copying books.
As mentioned above, from the perspective of the cultivation of learners' ability, copying books is easy to lose the status of the ancients, but it is more than the brushwork of the ancients, which is from the perspective of copying books themselves. Compared with Linshu, copying calligraphy is also "perishable" in grasping the meaning of the ancients. Why? Because: first, you can read the book clearly, unlike copying a book through a layer of paper; Second, in fact, each stippling itself also has "location" problems such as where to put down the pen, where to stumble, and where to collect the pen. This "position" relationship of stippling itself is also arbitrary, because it is a pen attached to the copy book, so the brushwork meaning is "easy to forget" and "much to lose", while the temporary book must be intentional, so the brushwork meaning is "much to gain" and "easy to enter".
5. The book is empty
Or holding a pen, or writing in the air with your index finger instead of a pen, or holding a pen with your bare hands, this is an "empty book." When reading posts, reciting posts, or conceiving glyphs in advance in the process of self-transportation, the book can be blank, so as to experience the writing action and train the hand's expressive ability. Besides empty books, there used to be other methods, such as drawing quilts, abdomen, front, ground, sand, and now there are hard pen stickers. In this way, you can learn books everywhere! And "book empty" is not restricted by any conditions.
Zhu's "Continued Book" says: "Shao Zong (Wang Shaozong, whose word is Cheng Lie) tasted from the cloud:' Those who have no skill in writing are especially used to pen and ink, often expressing their thoughts in detail, and thinking of them is white. Dr Wu Zhonglu compared Yu Jun to Yu Yu, so he wrote it without coming. Yu Wen is often painted on his stomach, just like Yu Tong's paintings. The danger lies in the south of the world. Although gage didn't write, he studied hard and thought deeply. After a long time, he has his own ears. In fact, "being painted in the middle" means always "studying hard and thinking deeply" instead of abandoning temporary writing. How can you not write before the case when you are still drawing your belly? I don't believe Yu Shinan's brave brushwork is not in front of the case, but in the "quilt"! "Being painted in the middle" is only a supplement to the writing practice before the case, and it cannot replace the writing effect. I used to write with a certain brush, but accidentally used another brush, which felt different and affected the writing effect for a period of time. Both of them are writing brushes, and they also have two handfeel, let alone ghostwriting! So, draw your belly with your fingers in the quilt, or write with a hard pen, or draw the ground, sand, empty books, etc. It can never replace the work of writing with a brush before filing.
To sum up: reading posts is conducive to understanding and memory; Hooks can force careless learners to check carefully; Empty books help to cultivate the expressive ability of hands; Copying is more effective than empty books, because it is practical operation, and it will leave traces of books, which is convenient for testing the effect of learning books. But the above methods are one-sided, and it is not as good as the comprehensive training of eyes, brains and hands. It is also because the function of "memorizing posts" is only to test and review the learning effect of sketches, and it can not obtain new calligraphy images, nor can it improve the understanding of calligraphy post images. If the image of the law post in memory is far from the original post, it is meaningless to recite the post, which is another reason why we have to "just talk and not practice" and write temporarily.
Although writing the calligraphy of the former sages is the only way for "calligraphy should be since the enlightenment", after choosing this road, we need to "work harder" to ensure the end of this road. Almost all learners are trying to copy books, but they don't benefit from the ignorance of the "multiplication project" and other reasons, so they suspect that copying books is the only way to learn books, and look for various reasons to deny "only word multiplication project, writing and calligraphy since the enlightenment", which is really regrettable!
The purpose of temporary writing is to abandon the original writing habit and re-establish it with a higher level of calligraphy art. It will take at least five years to establish a new writing habit. Children learn Chinese characters, and after five years of primary school, they can write freely in junior high school. When adults learn books, they must also struggle with the original writing habits, because the existing writing habits will always be revealed, thus interfering with the cultivation of new calligraphy habits. Zhao Meng, I'm afraid of wolves, I'm afraid of criminals, I'm afraid of criminals, I'm afraid of criminals. /P & gt；
You can't go deep into your post before you have time. In the face of various facades, Lin Zhe's calligraphy is all the same-it is actually the original old appearance before learning books, or, although it is not the old appearance, it is not as arrogant and naive as the old appearance. If you do this for a long time, it is because there is a problem with the guiding ideology of learning books or the understanding of techniques, otherwise it is because you don't have enough kung fu. That is to say, the theory of calligraphy techniques can not be put into practice until the time of writing, even if the subjective desire is to seek images, there is an effective theory of techniques as a guide, because before the time of writing, the theory of calligraphy techniques can only stay in understanding, but can not be fully reflected in the pen. Before kung fu, even if the post can be in-depth, it is not necessary. Sticking is a means of learning, aiming at application. If you can stick to the image, the problem of skill will be solved. Pro-posts can achieve a high level, but self-writing is the same as the original low level. This is not a technical problem, but a memory problem of the image of the law post. For example, painting, sketching for someone, can draw a high-level portrait, and the problem of painting skills will be solved; Leaving this person wants to write a portrait silently, but he can't start, or although he has painted it, the image is very conceptual and has nothing to do with the object. This is not because he has not mastered painting techniques, but because he has no deep memory of this person's image. It is a problem that every learner will encounter that temporary posts can't be used, so the theory of temporary posts' uselessness arises. In fact, it means to "practice temporary posts hard", deepen the memory of the image of legal posts, get familiar with their hands and express them unintentionally. There is a fable that a fool felt full after eating several cakes, and suddenly felt full after eating the last cake, so he thought that the first few cakes were not full and only the last one was useful. Because he sighed again, if I had known this, it would be enough to eat only this one. This fool doesn't know how things change from quantitative to qualitative. Eating cakes one by one can be achieved step by step by "writing harder", from sticking to the back, from intentional to unintentional, from focusing on the part to focusing on the whole. Look at it first, write it down, and write it down. When the memory of stippling is repeated a certain number of times, it will naturally be remembered, and then stippling will be further mastered and can be inadvertently revealed. Punctuation can be unintentional and accurate, and then you can give up your attention to it and make you interested in the closing words; When the knot is familiar and can be expressed inadvertently, then you can give up your concern about the knot and become interested in spirit and discipline; Pointing, knot writing, style and composition are all unintentional, which can be consistent with the overall effect of the law post and are high-level back posts. At this time, even if the word is not on the post, it will naturally be in tune with the French post. In other words, at this time, the problem of using temporary posts has been solved. From now on, you can write a book unintentionally and focus on the content. This is Rainbow Xizhi's Preface to the Lanting Pavilion and Yan Zhenqing's Nephew Book. They are interested in writing but not in books, but they have first-class calligraphy works. Temporary posts and post-posts can't be completely separated. Even if you read one and write another, it can be said that it is the post-post-the smallest part of the post. The eye takes the image of the law post, which is "near"; When the eyes supervise the imitation of the hand, they are actually "back".
It is generally believed that temporary posts should not be written one by one, but should be written one by one from scratch. Of course, this is beneficial to the memory of French words, but it is bound to ignore the memory of stippling. As a result, the colorful stippling image of the sages in the past has become an ordinary line in the pen of the successors, and it will never pass the stippling. People's attention and memory are very limited It is impossible for people without stippling skills to notice the whole knot and local stippling images at a glance and put this visual stay into practice. Only by looking at each line and writing one by one can we free up our attention and memory to organize the lottery. It's like learning to ride a bike. You should be interested in riding a bike first, so that it won't fall down, and then you can focus on the goal of progress without riding a bike. Another example is sketch, which must be reflected in all parts of the human body in order to accurately draw the fleeting shooting dynamics of basketball players.
Can we focus on knots first, and then on stippling? I don't think so. Because China's calligraphy is not from the whole to the part like western painting, but from the local stippling to the whole stippling organization, it is difficult to overcome this habit after being familiar with it.
Some people think that it is a matter of the primary stage of learning books, and it is not necessary to do so in the advanced stage. This view is wrong. Write a book first and then write, just like a sketch in painting. Only by constantly sketching can we constantly enrich the image of painting, and only by constantly posting can we continuously enrich the image of calligraphy, thus constantly improving our own calligraphy style. Abandoning temporary jobs, whether in the primary or advanced stage of learning books, will stagnate. Calligraphers Mr. Zhu Jiaji and Mr. Lu have reached the advanced stage of learning books in their later years, but they are still persisting. Eighty-year-old Mr. Lu studied Lanting, fearing that it was not practical. He not only wrote it, but also copied it. In his later years, Sha Menghai, a calligrapher, was too busy to post books because there were so many people asking for books, so he often said with regret, "Now we can't make ends meet." He compared the relationship between mailing and self-transportation to income and expenditure. The ancients were diligent in sticking to their posts, and many never stopped. Dong Qichang in Ming Dynasty "neglected painting and calligraphy, copied the original, but forgot to eat and sleep". ("Songjiang Zhi") He learned this book, "Every monument should be copied a hundred times, or dozens of times. Although it is a boat and car hotel, it has never happened occasionally, and it is always diligent. "
The reason why the ancients "strive to be strong" and "strive to be strong when they are old" is not only because they realize that pasting is the only way to learn books, but also because pasting itself is an excellent entertainment. Writing a calligraphy post of a former sage is like playing a famous song. Even if you repeat it a thousand times, it will not make you tired, but will make you more interested. Ouyang Xiu said with deep experience: "Since a few people are happy, they have been gradually abolished since middle age, or they are tired of not doing it, or they are too good to be tired, and there are still people who can't stop. The longer it lasts, the deeper it goes, and the more tireless it is. As for learning books, when you are diligent, you can often spend a day. It can be seen that the sages paid attention to this yesterday, not unintentionally. " Don't rush for success, just take temporary employment as a pleasure, but unconsciously achieve the goal of improving your calligraphy ability.