Article: Zhang Guisheng After decades of calligraphy research and eclectic bold practice, and careful reflection on various problems existing in calligraphy, I have some views on the future development of calligraphy, and at the same time, I am also looking for To find a way to get calligraphy out of trouble, I boldly put forward some insights and predictions. My opinions and predictions are not groundless, but the results obtained based on well-founded arguments. Regarding this, I will discuss it from the following aspects: 1. The writing object of calligraphy cannot be shaken. There is a saying that "painting a tiger cannot be like a dog." I use this sentence to criticize some so-called "modern calligraphy". In the process of learning and practicing calligraphy, when we learn calligraphy, we must first pay attention to what words to write. The writing objects of calligraphy are Chinese characters as the main writing objects, and it is precisely because of Chinese characters that calligraphy can show its charm. Some people want to go beyond the basics of writing Chinese characters and engage in some purely abstract non-literal calligraphy, or some kind of "modern calligraphy" that is neither calligraphy nor painting. This kind of modernity is divorced from the roots of calligraphy. Therefore, this kind of calligraphy Although it is a modern slogan, it cannot actually be called "modern calligraphy". Innovation in calligraphy has never stopped, and how to innovate is a topic that must be faced in the development of calligraphy. If some innovations become "a tiger cannot be compared to a dog", it will become a laughing stock. Therefore, how to inherit, how to innovate, and how to root the cultural spirit will inevitably become a problem that every calligrapher needs to deeply reflect on. 2. In-depth exploration of calligraphy. When studying poetry, there is a saying called "seeking poetry beyond poetry". What this sentence means is that when learning to write poetry, we cannot focus all our attention on the poetry itself. We cannot just consider how smooth the poems are, nor just the rhythm of the words. We must also consider the unexpected gains of many poems. , we call this the tempering of life. Art comes from life. Life is the source of art. In this regard, seeking poetry beyond poetry also provides inspiration for the study and practice of calligraphy. The implication is that calligraphy also requires "seeking poetry beyond poetry", and calligraphy's seeking poetry beyond poetry should be "seeking words beyond words". The word outside of the word here should refer to jumping out of the calligraphy itself, improving the skill and artistic realm of writing through external knowledge and cultivation and how to integrate it, and guiding the inner quality of calligraphy through external insights. improvement and innovation. Through in-depth exploration, what we need to understand is that the artistic activity of writing is closely related to a person's life experience and tempering. If a person lacks life experience and leaves the great enlightenment, he will just live a mediocre life. If you can't live a wonderful life, then you won't have many opportunities and gains in calligraphy. There is a saying that "characters are like the person they are", because everyone has his own face, so subjectively speaking, a person's handwriting will naturally be imprinted with his habits and hobbies, which is a natural phenomenon in itself. Human mood is like a flying bird, soaring in the blue sky. Writing is just like your thoughts soaring on the white paper, and the words are like the person, which is to render a style with such emotional color. Therefore, we must have an in-depth understanding and tempering of our own lives, and know how to obtain nutrients and materials from life. Only in this way can the works you write have capacity and depth. This point is already common knowledge to many people. To become a great calligrapher, first of all, your life must be wonderful. But if you just close the door and write, you will eventually become a writer. If we learn calligraphy skills from those who have come before, it is to master a skill. Then, in addition to skills, it is how to add color and charm. These must rely on your skills beyond calligraphy and your tolerance. Only with your mind and "selfless" practice can you become a true calligraphy master. 3. Vertical and horizontal expansion of calligraphy. When learning calligraphy, study from traditional theory. The practice and aesthetics of calligraphy also have the relationship between yin and yang and the harmonious concept of dialectical unity. And our writing for thousands of years has followed a sequence, which is clockwise writing. When writing Chinese characters, to complete the writing of the Chinese characters, the strokes are written in a clockwise direction. Therefore, few people have thought about why Chinese characters are written in this unique order. This writing mode has been passed down for the purpose of "recognition". Such writing itself is understandable. The problem is that for thousands of years, few people have reflected on whether there are certain flaws in such writing. If we look at the problem from the perspective of vertical and horizontal development and explain the problem from the perspective of one yin and one yang, traditional writing itself does have a shortcoming, which we call a "biased" development.
A man and a woman are a yin and yang relationship, and the existence of each individual also reflects the existence of this yin and yang relationship. For example, humans have two hands and two feet, which means that we must make full use of our left and right hands and left and right feet in order to comply with the laws of nature and not neglect the application of natural functions. However, when it comes to calligraphy or writing Chinese characters, traditional methods are one-sided and single-sided. Compared with modern people using keyboards with their left and right hands, the latter is more humane and rational. Just like playing table tennis or tennis, many people use their right hand. If someone uses their left hand, they are called left-handed. Few people consider that both left and right hands can be used and played well. Out of habit and the need for competition, most people are good at using one hand, and few people have thought about the benefits of mastering the ability to write "left and right". In fact, it’s not that people don’t want to draw left and right bows. The problem is that it’s very difficult to write left and right bows. Furthermore, the traditional fixed-position writing also prevents people from considering other writing meanings. Among them, there is no rise to a balanced approach to the problem. In this way , the mainstream of society will not guide the public to learn this left-right writing method; for this reason, many people give up learning the left-right writing method, and unknowingly, everyone can only perform in left or right routines. There are great disadvantages in leaning left or right, and few people seriously think about this issue. Youdao is a disease caused by imbalance of yin and yang. The phenomenon of overcorrection has not been taken seriously by everyone. Similarly, in calligraphy, there is also such a problem, that is, in practice, it is also biased towards development. This bias has caused a mistake, that is, many calligraphy practitioners have forgotten the development nature of things and the dialectical and unified development of opposites and complements of things. Secondly, if you do the opposite when writing calligraphy and write counterclockwise, the Chinese characters that people see are the reverse fonts on movable type printing, also called mirror characters. If someone writes this kind of Chinese characters and looks at them in reverse Most people have difficulty recognizing the characters, so naturally not many people can write in such fonts. For practical reasons, social entities constrained the development of this mirror style. In the early days of the development of calligraphy, the purpose of Chinese characters was to be identifiable and easy to identify. People were used to recognizing traditional Chinese characters that move clockwise. Therefore, if you want to write Chinese characters that move counterclockwise, in addition to seal engraving, movable type printing, etc., you need to master writing counterclockwise. The Chinese characters for "direction" have no other use. Since there is no other use, it is natural that the writing order of calligraphy should be what it is today. Is there really no other use to mastering counterclockwise writing? Since there is no "correct name" for counterclockwise writing in theory or practice, counterclockwise writing has become a "useless" or "limited use" and cannot be regarded as elegant. It is precisely because we do not understand that counterclockwise writing and clockwise writing have the same value and meaning of existence. Because we do not realize that counterclockwise writing is a supplement and correction to clockwise writing, we cannot gain a deep understanding of the overall meaning of writing. Understand the significance of this dialectical relationship of the unity of positive and negative. If people are accustomed to writing Chinese characters in a counterclockwise direction, then the order of writing in calligraphy will also become a conventional font that goes in a counterclockwise direction. If this were the case, in turn, there would be a problem of missing clockwise font development. If that's the case, there is a fact that must be considered. Whether it is writing in clockwise fonts or counterclockwise fonts, any single writing is imperfect and one-sided. We must be in a sound way. Practice calligraphy in the correct writing mode, so that you can embark on the "right path" of calligraphy. In other words, from the perspective of the vertical and horizontal development of calligraphy to understand how to write, and from the perspective of scientific writing training methods, we must pay attention to the problem of missing counterclockwise writing in calligraphy. Solving the missing aspects of calligraphy allows calligraphy to return to the right path of development. We cannot engage in any one mode alone. Only by paying attention to the writing training of the left and right hands, and only by understanding the significance of the balanced development of the two paths, using the left to promote the right, and complementing each other, can we have a wider space for the development of calligraphy; at the same time, we can also Such calligraphy development can influence and influence our society, promote our reflection, and make social development move forward on the right path of stability and harmony. Using calligraphy to influence society is another new mission for the development of calligraphy as a cultural phenomenon. When I created the "Tai Chi Hanging Calligraphy" practice model based on this dialectical unity of opposites and complementarity based on Tai Chi movement, I practiced based on "one yin and one yang is called Tao" and the dialectical unity.
In theory, I drew on Tai Chi culture and the law of Tai Chi movement to guide the practice of "Tai Chi Suspension Calligraphy". In the end, I achieved unprecedented gains, and at the same time, it confirmed the practical value of coordinated writing between positive and negative, and also It explains the practical significance of how the development of calligraphy can enter the "right path" and "formality", and in this way, calligraphy can get out of the crisis, thus giving calligraphy a brighter development future. What is "Tai Chi Hanging Calligraphy"? You can find it clearly by searching the Baidu term "hanging calligraphy". The practice of Tai Chi hanging calligraphy is the process of how to expand the calligraphy in the vertical and horizontal directions. To this end, I have been able to write a harmonious Chinese calligraphy work of one positive and one reverse on the left and right sides of the suspended rice paper, and can hang it vertically in the air. The calligraphy works written on the rice paper are penetrating and penetrating. In my opinion, Tai Chi hanging calligraphy can be understood as an artistic innovation, but behind it is a significant discovery. The discovery is that through such writing, we can gain a completely different understanding. Such writing can greatly Developing our left and right brains can improve our thinking, enlighten us, understand more analogous knowledge, gain greater creative energy, activate our potential, and acquire many incredible superpowers. If we can realize that the Tai Chi movement-style writing method is related to the development of the left and right brains, and understand that "ten fingers are connected to the brain", it can be said that Tai Chi suspended calligraphy is a great invention that improves and expands the function of calligraphy. Based on Tai Chi movement writing, it may trigger an artistic revolution in calligraphy and truly lead calligraphy on a healthy and open road. In recent years, many people have been talking about the crisis of calligraphy. Obviously, with the advent of the information age, the practicality of writing seems to have disappeared overnight. Although many people still use pens to write, and although there are still some people who use calligraphy to achieve the purpose of self-cultivation, computers have become a writing tool for many people. In this way, calligraphy creation is not only an artistic activity, but also the function of writing itself. Seriously exhausted, if this continues, how far can calligraphy go without an extensive writing community? Some people believe that the development of calligraphy will not languish because the writing tools have changed, but will become an art like painting and be accepted by the people. In fact, the people who say these things are very miserable. Why do they say this? Just like the development of dance, most of the time it serves as a foil for singers. Similarly, calligraphy was at its peak in ancient times, but now, one can imagine what the status of calligraphy is compared to traditional Chinese painting. It’s not that calligraphy is inferior to Chinese painting, but that calligraphy has lost its mass base. Calligraphy has not truly developed its role in an all-round way, and calligraphy has lost a position. Only when many people pay attention to calligraphy, understand calligraphy, and participate in the practice of calligraphy, can they understand calligraphy and appreciate calligraphy. Therefore, giving calligraphy a new voice is the main theme of the future development of calligraphy. My intention in creating Tai Chi Hanging Calligraphy is very obvious, which is to bring calligraphy back to a "practical" aspect. Only in this practical way can it fundamentally open up its space for artistic creation. In this way, more people will be inspired by its practicality. Pay attention, and then let more people participate in the creation of calligraphy art. Only in this way can calligraphy have a market for development. In the practice of Tai Chi hanging calligraphy, Tai Chi style writing has many practical significance as a way to explore new worlds in calligraphy. This is also the reason why Tai Chi calligraphy is called Tai Chi calligraphy. Tai Chi here refers to a way of thinking, which is the perfect expression of the comprehensive relationship between yin and yang. When I can organically and beautifully organize the positive and negative Chinese characters on a piece of paper, so that the positive and negative Chinese characters appear harmoniously and perfectly in front of everyone, this kind of creative expression will bring people artistic beauty. It provides a refreshing art form, and in another field, Tai Chi writing has a direct connection with health preservation, the development of the left and right brains, martial arts, philosophy, psychology, etc. Simply put, Tai Chi writing It can help us achieve better health-preserving purposes, better develop the potential of the left and right brains, improve martial arts, and gain an in-depth understanding of philosophy and psychology. Will we still underestimate the function of calligraphy? Tai Chi writing is developed in a vertical and horizontal manner. By understanding it step by step, you can make new discoveries that suddenly open up to you. 4. Comparative study of calligraphy Zeng Laide once said: "How should contemporary calligraphy go? According to my personal point of view, we should first go back to the starting point of calligraphy and re-understand the origin of calligraphy.
In other words, contemporary calligraphy in the true sense should be based on the perspective of the "big calligraphy view" and on the basis of in-depth inheritance of tradition, and create cultural values ??and formal language factors that have not been discovered or consciously recognized in calligraphy; and The establishment of contemporary calligraphy standards cannot separate the relationship with tradition. At the same time, it must raise new questions in the current cultural context and give ancient calligraphy the core significance of contemporary culture. "What is the "Great Calligraphy Concept"? The "Great Calligraphy Concept" recognized in the calligraphy circle is the "Calligraphy Cultural Concept." For this reason, Zeng Laide further discussed the relevant topics of calligraphy: First, calligraphy uses Chinese characters as the object of expression. art; the shape, structure, stippling of Chinese characters and the relationship between characters constitute the brushwork, composition and ink techniques of calligraphy; secondly, calligraphy has the shape and spatial composition of the art of painting. "The same origin of calligraphy and painting" not only refers to The homologous relationship of tools also has an inevitable internal connection in terms of modeling means and visual aesthetics; thirdly, the timing and irreversibility of Chinese character writing and the one-time nature of calligraphy creation determine that calligraphy has the rhythm and rhythm of music (about this point , based on Tai Chi Hanging calligraphy, this statement is flawed); fourth, the ideographic nature of Chinese characters and the rhythm in the process of writing Chinese characters determine the close relationship between calligraphy and poetry. A good calligraphy work, Not only does it have the artistic conception and mysterious characteristics of poetry, but the content and rhythm of poetry directly affect the writer's imagination, writing speed, and the changes in rhythm and rhythm brought about by writing speed; fifth, the relationship between calligraphy and literature, historically Many good articles have been handed down because of calligraphy, such as "Lanting Preface"; sixth, calligraphy is directly related to personality cultivation, so calligraphy has obvious ethical color and has a direct impact on traditional calligraphy evaluation standards; seventh, The history of calligraphy was written by scholar-bureaucrats. Before the Qing Dynasty, folk calligraphy was excluded from the orthodox calligraphy tradition. Eighth, calligraphy is the externalization of the spirit, and "spirit" and "charm" have become the main criteria for judging the art of calligraphy; Ninth, because everyone can write calligraphy, the public’s expectations for a piece of calligraphy are never as pure aesthetic objects of form, but also have equal expectations for “content”; Tenth, the public’s expectations for the completeness and readability of calligraphy content , the expectation of legibility determines the stability of the art form of calligraphy, and at the same time maintains strict boundaries between calligraphy and Western abstract art; eleventh, the public's expectations of the integrity, readability, and legibility of calligraphy content , determines that the art form of calligraphy is difficult to move towards a higher form of freedom; twelfth, the value judgment and approach to calligraphy traditions in different periods determine the characteristics of calligraphy of the times; From the above issues mentioned by Zeng Laide, I found that, Many times, what we lack most is reflection on ourselves. Reflection on the limitations of calligraphy. Why can't calligraphy serve other purposes besides the topics mentioned above? Become a method of health preservation. Through the writing of calligraphy, let calligraphy become a way to develop intelligence. Through the writing of calligraphy, let calligraphy become a method of cultivating potential and acquiring supreme skills. Speaking of these, here is Tai Chi Hanging Calligraphy. Everything is possible! In the study of calligraphy, comparative research often explores the correlation between calligraphy and other art categories; for example, the impact of art on calligraphy, the impact of dance and music on calligraphy, and conversely, how calligraphy affects other art categories. What is the corresponding impact? In the same art form, such as music, it is not only music that is pleasing to the eye, but it is also integrated into the medical field and becomes music that nourishes the body and mind. What is even more special is that therapeutic music has also been developed, including the release of music products to treat cancer. Some musical works also have the function of developing intelligence. For this reason, many musicians have actively developed and applied them and have made amazing achievements. Having said that, can the practice of calligraphy have medical value and can it develop intelligence? Through comparison and research on Tai Chi Hanging calligraphy, we believe that calligraphy has many functions like music. For example, it has broad application prospects in medicine, in developing intelligence, and in promoting literary creation. Being able to write is an essential skill for a cultural person. From the perspective of writing, if you have a grasp of words and become a cultural person, you can influence society and others by writing articles. Similarly, if a person masters special calligraphy practice methods, he can make such calligraphy a tool for preaching and a "philosopher's stone" for enlightening others. Tai Chi Hanging calligraphy is by no means simply writing Chinese characters with one positive and one negative, and then evolves such a positive and negative font into a new art form.
The real significance of Tai Chi hanging calligraphy is that it will definitely become a cultural phenomenon that affects society and gives calligraphy a new position. As a culture, the "ancient" of calligraphy itself contains the "new in the new". The implication is that the older the art, the more connotative the humanistic spirit and the original life state of the creator are reflected, and the inspiration it brings to us is also brand-new. and more resounding intrinsic components, which will make the symbol of calligraphy culture in the modern context. With the excavation and improvement of modern people, calligraphy will have more existence value and let more people in society Let Chinese calligraphy have more audiences and practitioners, let calligraphy become a great calligraphy, and let calligraphy, the quintessence of Chinese art, have a higher social status. Calligraphy and art, calligraphy and dance, calligraphy and music, calligraphy and martial arts, calligraphy and health preservation, calligraphy and medicine, etc. When it comes to Tai Chi Hanging Calligraphy, calligraphy is not just calligraphy itself. Through comparison, you can find that calligraphy is connected by analogy. The existence significance of calligraphy can make calligraphy truly based on high-end, become a beautiful landscape, become high-end, and make calligraphy the leader of the "Renaissance". Through comparative research, we can see that there is still a lot of room for the development of calligraphy. The problem is that you choose to take such a path to rejuvenate the ancient art of calligraphy. Perhaps it is through comparison that we find that the most attractive thing about calligraphy is the "context" that the calligraphy lines themselves can convey, which is the greatest humanistic value of calligraphy. And how to use the dots and lines of calligraphy to construct shocking works of art? It is also about discovering and developing, and using new practical methods to encourage us to forge the magical charm of lines, let the lines draw a lightning-like arc, and make the trajectory of calligraphy become a carrier of "extreme" beauty, allowing the public to Impressed by it. 5. A broad study of calligraphy methods. Calligraphy is called calligraphy because it has countless writing methods. And what kind of law is this law? Is it an immutable law, or is it an unfixed law? Writing has no fixed form. Starting from the aesthetics of calligraphy, whether the creator of calligraphy can achieve a natural achievement in composition has become an important indicator of testing a person's writing skills. As for the law of rules and regulations, there is a problem of "no fixed law". If one studies calligraphy from the simple point of learning calligraphy, one can copy calligraphy and copy the tiger's calligraphy. Over time, one can write good calligraphy. However, this person has not reached the state of calligraphy creation, which is the state of free play and calligraphy. Be free to innovate. This freedom is the freedom of artistic innovation, and how to innovate in calligraphy actually has two aspects. One is the innovation of font form, and the second is the innovation of composition. The first innovation is easy for many people to complete, but the second innovation is not very easy. Regarding the issue of organization, this is a question of how to look at the overall situation. On a piece of paper, this piece of paper is a whole. You need to write many words on this piece of paper. If you just write it simply, you don't have to think about the organization. And when you want to arrange many words just right and in various ways, there is a procedural problem. How to arrange the position of this character and that character, especially when writing in cursive style, you cannot write every character step by step. At this time, writing faces the problem of how to lay it out better. This layout is where the rules lie. The words written by many people look good individually, but when you look at the whole text and look at the overall effect, it doesn't look good. There are words in calligraphy that are afraid of being put on the wall. Why are they afraid of being put on the wall? Because the work is hung on the wall, people can look at it from a distance and see whether the overall layout of your characters is harmonious and whether the center of gravity is stable. These all determine whether the calligraphy work you wrote is beautiful or not, and a beautiful calligraphy The work must be harmonious as a whole, and it is an art form with dynamic changes and rhythmic beauty. For this reason, when we look at calligraphy creation, we must consider a broad topic; in a narrow sense, just write every word well, and in a broad sense, you have to consider it as a whole and do it in the composition. To be able to continuously introduce new things from the old, this broad sense ultimately comes down to how to understand this "Dharma". Calligraphy is a manual writing movement. For this reason, is there a fixed method for such manual movement? In fact there is none. It's like practicing martial arts. In the end, no routine will work. Movement is the method. You have to move randomly and move according to people's conditions, local conditions, and people's conditions.
Therefore, in such a movement, when it comes to calligraphy, it is how to understand "the words are like the people". You need to understand yourself and how many routines you have. Can you break out of this routine and broaden your horizons? Entering into a state of selflessness, entering into a state of indeterminacy, and entering into a state of letting go more. The study of calligraphy in a broad sense is actually about how to open ourselves up so that we can let go more. When creating, we should not be constrained by established methods. We should look at problems with a high eye and a high hand, and exercise our "high eye". Many people have high ambitions but low ambitions. Why? Because he can see the problem, but it is not the same when writing, because his hands do not listen to his own words. The advent of Tai Chi Hanging calligraphy is precisely to solve this problem. As mentioned before, words are like people. If you can't see the problem from the writing method, you want to completely solve this "law", want to be able to write well like a fish in water, and want to be able to control yourself to write well from beginning to end, this is Impossible. From ancient times to the present, few people have thought that because there is something wrong with the way we write, there is nothing we can do when it comes to innovation in composition. Many calligraphers, even everyone, write in a familiar routine with a style and limited organization, and this kind of writing is not very free and open. High-sightedness, in fact, such high-sightedness is also a conscious thing. When it comes to judging the writing effect, you can see something is wrong, but you can't tell the reason. Why have so few people become great calligraphers for thousands of years? Because many people fail in their methods and fail. Anyone who practices Tai Chi knows what "one virtual and one real" refers to? In boxing practice, the center of gravity of the human body changes through the shift of the center of gravity of the left and right feet. This change is a change of one virtual and one real. Traditionally speaking, when we write Chinese characters, we write with one hand, and we write in a clockwise font. If we write too much like this, the human body will cause an unbalanced physiological symptom, so, Many people have to rely on their eyes to grasp the structure and layout of a word, and finally how to deal with the relationship with other "words". The entire writing must be grasped by human subjective consciousness, and the emergence of human physiological mechanisms This is a problem, which will inevitably affect people's natural movement. In such an imbalance, people will subtly find it difficult to be one with nature. In this way, through the ages, many people write, and they can only control each one manually. The words are "arranged" in a good position. When the person's mood or physical condition has problems, his writing will also be seriously affected. Therefore, many people shrink back when writing, and naturally cannot open themselves up, but they have never thought that writing is related to themselves. The physical and mental changes are inextricably linked. Dialectical relationships such as retracting and releasing, lightness and heaviness can all be reflected in calligraphy creation. The creation of calligraphy is actually a practical process of "dialectical thinking". When we study calligraphy in a broad sense, we want to tell every calligraphy enthusiast not to just think about ready-made writing, but to consider your physical and mental changes and whether there are any problems with your writing method. We write alone, which is very harmful, but few people think deeply about it. The advent of Tai Chi Hanging Calligraphy, through practice and theoretical interpretation, is to tell you that the reason for your high vision and low hand is not your fault, but the fault of people throughout the ages. What is wrong in the practice of calligraphy is that everyone has never thought that the culture left by our ancestors has told us how to resolve conflicts, disharmony, and yin and yang imbalances? People do things according to habit, which is due to inertia. Few people have thought about the principle that things must be reversed when they reach their extremes, and why the development of things will backfire in the end. There is a crisis in calligraphy today. This is an inevitable phenomenon that backfires. Otherwise, how could we think of how to solve the crisis? Tai Chi hanging calligraphy is a good medicine, specially designed to solve the current crisis of calligraphy. If I conduct a more in-depth comparative study, I will use traditional cultural concepts to explain the various shortcomings of existing calligraphy. After all, this is just a teaser. If you want to have an in-depth interpretation, it is better to put them one by one in the monograph. Putting aside Tai Chi Hanging calligraphy, and focusing solely on traditional Kuang Cao calligraphy, how do we understand the ultimate beauty of calligraphy? This requires discovering this ultimate beauty from Kuang cursive calligraphy. Only Kuangcao can show this ultimate beauty! Why do you say that? First of all, Kucao can better open up the inner shackles. Kuangcao is not about scribbling, but about using it to the best of your ability. To write Kuang cursive well, the real difficulty is not what style of cursive you write, but how to achieve a certain level of strength and speed in writing.
To be precise, the charm of Kuangcao is not only in form, but through connotation. During the decades I have been studying calligraphy, I have discovered that many of today’s calligraphers are good at what they do, but they are not good at what they do. How to put it this way, calligraphers focus all their energy on the calligraphy and calligraphy styles, but rarely consider the texture and skill of calligraphy dots and lines. In this way, the font you write looks good, but it is not eye-catching. Especially when writing on rice paper, many laymen don't know what the difference is between rice paper and other papers. They don't understand the difference between a good calligraphy and a sandwich. Some calligraphers are not able to write on rice paper because they are not skilled enough. In order to write a decent work, I used some promotional paper to fool the laymen. In addition, laymen only consider the "words" and the popularity of the writer. Why think so much? There is also the problem of using paper when writing calligraphy. Through decades of calligraphy practice, I have seen the fact that the value of writing on rice paper is so important and has irreplaceable significance. To prove your writing skills, you must write on the birth certificate to verify your identity. Especially for Kuangcao writing, only through the rendering of Shengxuan can the art of Kuangcao be appreciated not only in form, but also in terms of texture. Through the practice of Tai Chi Hanging Calligraphy, I have discovered ways to improve my writing skills. For this reason, I can give full play to my writing skills. Moreover, I have experienced that my unique skills can make the cursive works written very attractive and artistically strong. The visual impact of this aspect can also explain the significance of learning Tai Chi hanging calligraphy. Kuang Cao can best reflect the charm of calligraphy. Combined with the unique skills as the icing on the cake, the art of Kuang Cao calligraphy is ultimately made more colorful. 6. The significance of originality in calligraphy. If you look at the current calligraphy creations, there seems to be a big disadvantage, that is, when you go to a calligraphy exhibition, it becomes very common for thousands of people to look alike, and there are not many eye-catching works that impress you and make you gain. Visual impact. When we talk about thousands of people, we mean that many people follow a routine and pattern when creating calligraphy works. They copy others and then graft and piece it together to form their own artistic style, which is difficult to see. An "original" work of art. Why are there so few original works in calligraphy creation? When we look up at the mountain, have we ever thought about the reason why those calligraphy masters became such masters? Because they are not limited to writing for the sake of writing, their accumulation in life forms their knowledge structure, and this knowledge structure allows them to be unique and find new ways. These master calligraphers who are unique in their calligraphy know what they look like and realize how important it is to be "unique". Therefore, they can always stick to their own characteristics and become successful through their own efforts over time. A generation of art masters. The original spirit is the spirit that our era urgently needs to advocate. Many calligraphy enthusiasts don't understand what originality is about, and they always cover songs. There is no risk in covers, but it is difficult to create masters of the art of the times. Regarding advocating originality, this is an urgent matter for the calligraphy industry. The vitality of calligraphy lies in promoting originality. We cannot ignore the natural, wild, unadorned originality of calligraphy. Only by drawing nourishment from the source of life can we allow our original spirit to flourish. 7. How has calligraphy become a cultural stronghold and is widely recognized by society? Social consciousness regards calligraphy as an art. Even if you think so, many people do not agree. They still regard calligraphy as writing and not as an art. stuff. Calligraphy is indeed a discipline