Brushwork, structure and composition
A detailed description of the three elements
First, the brushwork
Because of different habits, writing with a pen can be convenient and easy, and there is no need to correct them one by one. However, in the process of teaching practice, we should pay attention to cultivating the comprehensive grasping ability of those friends who hold and use pens irregularly in the process of writing and writing, such as starting and closing pens, lifting and pressing pens, moving forward and backward, middle edge, turning, stumbling, rushing, hiding, spreading and closing pens, Fiona Fang, etc., so as to compare the advantages and disadvantages of different holding and writing pens. Since ancient times, Chinese characters have been learned with a pen. When using a pen, after a period of training in various fonts and strokes, friends can focus on practicing some random fonts, such as official script, running script and cursive script. You can also learn some techniques of modern calligraphy strokes as needed. In short, the strokes you write should be moist and three-dimensional, which requires your friends to ponder carefully, and at the same time pay attention to the changes in the meaning of strokes.
Second, the structure
Sun, a great calligrapher in the Tang Dynasty, said in his book Fractions: "As for the distribution of beginners, fairness is required; Knowing that justice is right, we must pursue danger; This paper brilliantly discusses the dialectical relationship between "righteousness" and "danger" in calligraphy structure, and shows the objective process of learners from shallow to deep, from simple imitation to free use. As we all know, an important rule of regular script structure is losing the center of gravity. How can I lose my center of gravity? One way is to balance the collocation structure, and the center of gravity is naturally neither crooked nor oblique. This method is called "fairness". Another way to write it is a more flexible and ingenious collocation structure, with positive and negative, light and heavy, expanding and shrinking, moving with security, changing with positive, without losing the center of gravity. This writing style is called "dangerous and correct" or "seemingly trying to save lives", which can make writing more interesting and full of vitality and achieve the ideal artistic effect. A friend can write steadily. But for people who have worked for decades and are experienced, they have a strong psychological balance quality and accurate visual ability, and their grasp of the center of gravity is often better than that of young people. What is more suitable for them should be "cautious" and "seemingly saving everything". Therefore, in the process of calligraphy teaching, the main structure is "chasing danger", which makes them generally integrate their rich experience and deep understanding of reality and nature into the pen and ink structure with the characteristics of lifting, frustration, quickness, massiness, shading and Fiona Fang.
Third, composition
After learning the brushwork and structure, friends have to solve the composition problem of the whole calligraphy work, which is called "quotient position" in painting. Different words in a work reflect different emotions and styles. How to deal with the size, density, convergence and release of characters in space, so as to better reflect the calligrapher's thoughts and feelings and have a highly varied and unified formal aesthetic feeling, and the harmonious combination of the two is a problem to be solved in the layout design of calligraphy works. I think it will be much more flexible to advocate "few words" to write calligraphy and solve the problem of composition. The number of words in "Shaozi" calligraphy is about four words. First of all, it is much easier psychologically than large-scale content, which reduces the mental pressure and physical burden. Every word of a big poem should be considered, which word is big, which word is small, where it is sparse and where it is dense. Even if every word is considered, it is often unsatisfactory. Either it is poorly written here or there are mistakes, so it is difficult to guarantee that every word is satisfactory, let alone the ideal effect. In addition, if there is too much content, the number of words must be less. Old friends' long-term focus on small words is not conducive to physical and mental health, nor to the overall distribution of time. "Shaoyan" calligraphy is simple in content and few in words. Those who are interested can write a few, and those who are not interested can be put aside. The written works are both casual and natural. If they don't write well, they will start all over again. They are effortless, purely for fun, seeking a feeling of "writing generals."