I am thinking about a problem. The ancients said that regular script is the foundation of running script. When the script is written, the running script can be advanced step by step. Why do some students write so well, but they can't write running script? I've seen a 14-year-old who writes regular script. It's a good age for teenagers to mature, and many of them won prizes in Quangang. But I asked them to write Wang Xizhi's running script, but they couldn't! I am very surprised. There are two points in this question. We should behave and reflect. One is whether there are any problems in our teaching, and the other is to find out what the students taught by us are for. For example, teaching undergraduate students of Nanyi traditional Chinese painting. If he has taught regular script to this extent, will he write an inscription? Whether he can do something in painting. That's it. It took four to five years for the society to write such regular script. What did he do? If he goes to our art college to read ancient works, can he read them? We have artists, historians, music departments and design departments here. I think it is very important to teach him that the word is beautiful, which is related to the selection of posts. We have always insisted on a method. We should tell students about the background and development process of this kind of calligraphy. Some teachers don't talk about it, but just stay in the structure L. What kind of cover should be bigger and how to write without water? Is it because of the limitation of class hours and the low level of students' majors? Instead of teaching him why beauty is beautiful and how to read, he is only taught to write beauty. Some people are used to seeing Liu Gongquan, but they don't accept others, so there are differences in aesthetic concepts.
in my years of teaching exploration, I found that writing Zhiyong is a road to running script. Among Wang Xizhi's successors, Zhiyong is an excellent one, and his calligraphy works are superb and magnificent, which is enough to be a model for later calligraphers. Today's scholars have some incorrect understanding of Zhiyong, thinking that his (thousand-character writing) is purely inherited from the mantle of two kings, with less creation and less personality. But I don't know that in the history of calligraphy in China, many famous great calligraphers started with "Zhi Yong Qian Ning Wen". Therefore, we can't simply look at "Zhi Yong Qian Zi Wen" with a narrow creative vision. For example, just like painting, there is training in sketching and sketching. Beginners of piano must play some etudes that seem monotonous in melody but are summarized by predecessors to train fingering. Without these basic training, creation will become passive water. From this point of view, Zhi Yong Qian Zi Wen is loved by calligraphers of all ages precisely because it is the best model for beginners to learn orthography and cursive brushwork. It completely and accurately retains the traditional techniques of the two kings system, and the first need for calligraphy lovers who are new to orthography and cursive brushwork is not creation, but just such an "etude" for basic technique training.
The real book in "A Thousand-character Text of Zhi Yong Zhen Cao" is among the existing calligraphy works in the Southern Dynasties. For the original regular script with the largest number of words, you can clearly see the writing method of two kings and one pulse. Judging from the font, it belongs to the middle script, so it is more convenient for beginners than Wang Xizhi's On Music and Yi, Huang Tingjing and Wang Xianzhi's Thirteen Lines of Luo Shenfu. It stretches straight down with a pen, and the question of beauty echoes through the pen. It is precise in structure, beautiful in body, be adept at in statutes and elegant in breath. In particular, a prominent feature is that its strokes are true and the lines are interlinked. Compared with Yan Liu's regular script after the middle Tang Dynasty, there are no flashy elements at the two ends of the strokes in points, hooks, turns and kicks, and there is no obvious setback. The strokes are neat and neat, and the strokes are clear and clear. Therefore, after you are familiar with the regular script in Thousand-Character Works, you will often get twice the result with half the effort, which is helpful for calligraphy lovers to transition from regular script to running script, and it is also the correct way from regular script to running script.
Zhiyong regular script (a thousand-character script), as the representative of the Southern Dynasties' true script, is slightly horizontal in word formation, and has the characteristics of Wei and Jin dynasties, which are the same strain as those of Wang Xizhi. By studying it, we can get a glimpse of the Southern Dynasties' regular script, such as Liu Dai's epitaph, and the outstanding works in the Northern Dynasties' epitaph, such as Zhang Hei's female epitaph, etc. We can also learn about the Southern Dynasties' regular script and Sui Dian's regular script. The author who wants to continue to work hard in Kaifu can also see the origin of the brushwork and knot words of famous Kaishu masters such as Ou, Yu, Chu and Lu in the early shop. Therefore, as the basic training of regular script, the real script in Zhi Shui's Thousand-Character Works has a positive meaning as the foundation of the transition to running script.
When writing Qian Zi Wen by K Yong, firstly, we should choose Langhao, doubled both brush or Yanghao pen with good elasticity but not long edge. Secondly, we should choose wool paper and leather paper with moderate water absorption instead of Xuan paper with strong water absorption. At the same time, we should basically approach the original size when writing, and note the layout of the original lines. In teaching, we ask to be close to the original university and write in a way close to the original, because only in this way can we observe the nuances in the pen and master the spiritual essence of the original, so as to avoid losing the coherent characteristics of the pen in the exhibition. Source: Calligraphy House, Calligraphy House China Calligraphy Learning Network.
Practice has proved that the basic training of regular script is helpful for beginners, not only to set up a good shelf, but also to notice the importance of traditional brushwork at the beginning of training, which helps them to quickly grasp the brushwork connotation of interpreting regular script through one stage of training, and to avoid getting lost, confused and disoriented when learning other regular scripts and running scripts in the next step.
Today, I brought an exercise, which is an American student, Ke Jialin, who has never studied calligraphy. After two or three months' training, she studied it. From this exercise, although the brushwork is not strong enough, it is both in brushwork and shelf! Points close to the original book, and show the special atmosphere of Jin shop. It can be seen that as long as you concentrate on your attitude, use the right method and train in a short time, you can completely reach this level. That superstition is a post. It is obviously worthless to write down the old idea of ten or eight years and regard time as the whole of one's skill. From this, we realize that the training method is the key to learning, which of course includes the selected model, the correct use of brushwork, the accurate grasp of the shelf and so on. That is to say, we believe that the main component of skill should be scientific learning methods, not just long time.
an analysis of Mi Fei's running script writing skills
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(Source: Love Calligraphy-Learning Books Every Day | China calligraphy net | China Calligraphy Learning Website)