1. What is the teacher-student relationship of Uncle Chu? bbs.china-shufajia.com。 _. D/A.. A2 E，]# N* ^，\3 z9 j，l
Why do you need to understand the relationship between learners and calligraphers when learning calligraphy? This is a question that beginners will have We believe that it is very important to know the artistic thought, artistic style, artistic achievements and forming factors of a calligrapher we want to learn, who to learn from and who to inherit, and then help us master the style of learning this calligrapher. ; k % u S！ f9 T
Chu Suiliang was born in a scholarly family, and his father, Chu Suiliang, was a bachelor of Oriental Palace and a doctor of Taichang when he entered Sui, and his literary talent was quite good. Chu Suiliang knows little about family studies, dabbles in literature and history, and is good at calligraphy. When he was young, he studied in the Ten Tombs. When he grew up, he was influenced by his father and friends Yu Shinan and Ou Yangxun. We haven't read The Book of Ten Tombs. Judging from the book A Que Buddhist Shrine Monument written by Chu Suiliang in Zhenguan period, its elegance and strictness are different from those of Yu Shu. In addition, it has the characteristics of flat painting and wide knot. It can be said that Chu Suiliang's "Youth Records" is learned from many aspects, and the brushwork of epitaphs in the Northern Dynasties is similar. In the same year, The Monument to Mencius was also written with a pen, just like Ou Yangxun. As for the first year of Zhenguan, Emperor Taizong summoned 24 children of officials with five or more civil and military skills to Hong Wen Library to learn books, and "Yu Shinan and Ou Yangxun taught the method of opening letters". The following year, imperial academy resumed calligraphy, set up a doctor of calligraphy to give lectures, and taught the Book of Songs, Shuowen and Zilin. In addition, there are 20 school booksellers and regular letters. Later, he also participated in the work of purchasing and collecting Wang Xizhi's books in the imperial court, and he was able to see that "there are almost 2,290 books of You Jun, which are packed into 13 volumes and 128 volumes", which is also a great opportunity for Chu Suiliang to learn books. In the history books about Chu Suiliang's political career, every link has its own title, especially the closeness with Emperor Taizong originated from calligraphy.
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-]( q' j: i- s$ W% n+ B Because Emperor Taizong advocated the word "Wang", Chu Suiliang also deeply understood the way of the two kings, taking the virtual as the real, turning the real into the virtual, and forming a style of spare no effort, charm, thinness, elegance, calmness and fortitude. "Book End" commented on his book: "If Yaotai is green, it will reflect the spring forest. Beauty Chanjuan, not Luo Qi, graceful and restrained, Europe, Jade Xie ". Chu Shu is represented by Fang Ling Xuan Bei and Preface to the Wild Goose Pagoda, especially the Preface to the Wild Goose Pagoda, which he wrote when he was 58 years old. Wang Xuzhou commented: "The pen is thin and energetic, like a century-old vine, flying in the air, and the dregs are empty. I want to be an inch away from the paper, like a clear cloud hanging in the air, a fairy. " He also said: "The Book of Gong Chu seems thin, but in fact it is moist and looks like Gu Zhuo. In fact, it is elegant. The strokes are all in the air, suddenly falling, accidentally touching the paper, the power between the words and the meaning between the pens are inexhaustible." Based on the comments of the past dynasties and the author's experience in learning Chuci Shu, I think that learning Chuci Shu must recognize the following three characteristics of Chuci Shu:
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1 dignified and beautiful. This is the first major feature that Chu Kai has been deeply loved by everyone. Dignity is based on its extraordinary ability to conclude words. No matter what monument or column Chukai has, it naturally presents a rigorous and harmonious structure, solemn and full of temple atmosphere. Stroke composition is not far-fetched, straight and symmetrical, full of hibiscus posture; Beauty is the expression of his talent. Chu Kai's slender, tough and agile lines are really beautiful in the square and rigorous structure, but the center of the plane always presents the sharpness of the shadow, which perfectly combines the flesh and blood with the elegance of the author's heart, like a flowing spring running in the forest to repair bamboo, and if a pine tree stands on the mountain, it is like the smiling back of a loving lady.
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8 H3 Y7 N) @4 N) n-？ ) I8 Y calligraphy, calligrapher 2, fluent and dignified. Chu Kai showed the author's brilliant talent in solving this contradiction, which is probably the reason why the book circle still respects him. Chu Kai's early "Monument to Mencius" is mainly European and French, which is dignified and heavy. Other inscriptions have a natural and smooth, dignified and calm Chu style, which is one of the signs of Chu Kai's maturity. No carving, no decoration, no informality, dexterity and openness, flying with emotion, freedom of entry and exit. The atmosphere is open, the brushwork is concise, the length is appropriate, the intention is moderate, and the pressing is clear. Smooth and absurd, dignified and procrastinating. We can feel this in the preface to the sacred teachings of the Big Wild Goose Pagoda and the Square Monument, especially in the two mimeographs of Yinfu Jing and Ni Kuanzan. Calligraphy, calligrapher (h% {7} 2x% r&; r+ o
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3, straightforward and colorful. If Chu Kai's pen movements in the air are connected, they are basically line or cursive gestures, and the running script is directly used on two ink books. At the same time, in the opening and closing of the knot, the severity is slow, the same word and pen are handled, and they are self-sufficient? 1? 3. Very versatile and changeable. Sometimes it goes straight in and out, and sometimes it goes back to the front to hide its tail; Sometimes firm, sometimes scattered; Sometimes it's a swipe, sometimes it's a pen hook. In these numerous changes and colorful strokes, a brilliant secret was created and a graceful charm was displayed, that is, silent music and wonderful dance.
9b2t9} (g+gbbs.china-shufajia.com 3. What preparations do you need to make to learn from Chukai? Calligraphy, calligrapher +O! R+ V A 1 g) W8 E" c- K2 Y' d
4 y2] 1 z)\ & amp； G6 l China Calligraphers Forum Chu Suiliang handed down regular script works mainly in Chinese and big characters. To learn and master this artistic calligraphy style, it is necessary to do a good job of preparation before writing.
2 V2 j9v $ T0 A({ & amp； |4 Q calligraphy, calligrapher 1, post selection. Chu Kai has many works with different artistic characteristics. Choosing your favorite tablet that conforms to your personal writing temperament is bound to be carefully selected among many newly opened tablets. Beginners should choose a more correct tablet with a large number of words, such as the preface to the holy teachings of Yanta. Those who have a certain calligraphy foundation can choose Jing or Ni Kuanzan's ink book to learn. As for the Monument to Mencius, it is an immature work by Chu Kai, because there are many ways to use it, but it fully shows Chu Suiliang's strong integration and adaptability. Chu Kai has fewer typical strokes and more technical changes, which is suitable for those who have calligraphy experience to learn from. When reading the selected posts, we should pay special attention to understand the artistic characteristics of Chu Kai, find out the similarities and differences between the structure and the pen, classify and analyze the typical radicals, study them carefully, strengthen our memory and improve our eyesight. # r $ | & ampk$？ X 1 [！ ~' b+ A
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2. tools. In order to facilitate copying, it is very important to choose and equip tools, so-called "tools that benefit first". The Book of the New Tang Dynasty 108 Biography of Pei Xingjian contains: "Chu Suiliang is not a good writer, and he has not learned a book." According to the author's experience, the ancients said that "those who have the ability don't choose their pens" can't be generalized, especially it is very important to choose good tools in regular script writing to achieve "hand and body". China Calligraphers Forum # W7 L0 K6 ]" }7? 9 X3 B.
It is advisable to choose a pure-tailed wolf brush with delicate strokes, soft and healthy strokes and sharp nib, with one long brush and one short brush for large and medium-sized fonts, which can be used to enlarge and copy the original (double-brush "Baiyun" pen can also be selected for large and medium-sized fonts).
/q 1p)Z4 A8 {Calligraphy, the calligrapher's ink can be the calligraphy and painting ink circulating in the market. "Yidege" is thick, so it is advisable to scoop water when writing, and it is advisable not to stick a pen. You can also choose a special painting and calligraphy ink with little and thin "Red Star" glue.
6 I # C2 s； U/ p# | Calligraphy and calligrapher's ink cartridges should be sealed and not easy to dry. The cover of the old ink cartridge is covered with mica sheet, which can keep moisture and is very convenient to use. Filament cotton should be filled in the ink box. If you don't use fine thread cotton or medicinal cotton, you can cut one or two layers of flat flannel and spread it on the top layer to prevent miscellaneous threads from sticking to the pen. The biggest advantage of using ink cartridges is that the amount of ink is easy to control and not easy to dry. The ink color of regular script is easy to be unified throughout, but it is not possible to use inkstone. Calligraphy, calligrapher 9 i3 g4 t# R 1 _)}
The back frame is also indispensable The ancients invented the wooden slope column frame, which is very convenient to use, but it is rarely seen in the market. You can choose a music stand and lift it to adjust the angle to the desk. 1 J5 W3 S4 k4 q 1 W
Mi Zige paper can be marked with semi-Shu Xuan paper with weak ink, or you can buy printed Mi Zige edge paper or Xuan paper directly, and it is appropriate to choose the original large grid and double grid according to the size of the original post. Calligraphy, calligrapher' k: x&; n，b & ampj，]) h5 v8 y6 [
A piece of transparent glass, the size of which is the same as that of the copybook. According to the size of the copybook, draw a Mi Zige with a thin line of an oily pen, which is the same as the number of words in the copybook, and use it when copying. BBS . China-shufa Jia . com 5 w:O2 R #[+V * w
In addition, the desk should be covered with painting and calligraphy felt or blue-black woolen cloth. Learning regular script should be clear, calm and calm.
6u]" ^ 3r！ r+| 7 a； |4 volt calligraphy, calligrapher 4. How to copy?
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5 T3 H5 O, G8 k) ~" K( h China Calligraphers Forum is the most effective and convenient way to learn any calligraphy art? 1? The method of 8 is copying, and the correct method will get twice the result with half the effort. Proximity is not the same as copying. The so-called near is to write in the face of posts, which can be divided into near and near. The more like the original post, the better. Being near is to take its essence and discard its dross, which is an advanced state of being near and not suitable for beginners. By copying, I mean copying around. Copying is to cover the paper on the original post, outline the outer edge of the stroke by word, form a red book and then fill in the ink; Copying is directly copying the paper on the post. According to the characteristics of Chukai, we chose the method of combining presentation and imitation, and quoted modern scientific and technological means. The specific methods and steps are as follows:
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1, original copy. Chukai's neat and diverse structure is not easy for beginners, and copying is the most stupid, laborious and effective way. Choose an impenetrable and familiar poster, and outline the outer edge of the post word by word with a pencil to form hollow characters. When sketching, you can't hurt your friend's strokes, and you can't leave gaps. Paying attention to the similarities and differences between stippling and writing is also a process of strengthening memory. Fill in the ink, tick it into hollow words and copy it. You can use red ink first, then blue ink, then light ink and strong ink. One copy can be filled in at least four times. Fill in the requirements without taking off the thread and leaving no seams, and strive to fill it out in one stroke without repeating it (correct posture and writing are prerequisites). Try to sketch the selected tablet at least once from beginning to end, and the faster you master it.
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2. Roger that. You can enlarge and copy the original tablet, cover it with the same size, fix the four corners with pins, or copy it from light to thick. It is required not to print strokes or empty strokes, and the thickness is the same as that of stippling, and not to redraw. To understand and imitate the relationship between stippling and pen movements, repeated operations can go deep. Calligraphy, calligrapher "Y* }# V( w! d！ K2 ^) o' v0 m
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3. Mi Zige is adjacent to. Press the prepared Mi Zige glass on the stone tablet and align it with the inscription. Whether using the original large or enlarged Mi Zige paper, temporary writing should be done according to the stippling position set by glass MIG. At this stage, we should pay attention to the following key points: the changing law of each character's position, length, thickness, density and weight, and experience the changes and subtle skills of brushwork. Pay attention to the pre-actions such as hiding, revealing, returning, arranging, leaving and opening the pen. Mi Zige mastered the basic structure and pen-using characteristics of Chu Suiliang's regular script in Linqu through his former university, and enlarged it, seeking and mastering its laws and characteristics in repeated training.
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These squares face each other. Different from Mi Zige, the box can determine the stroke position of each word, although it can also frame the size of the word, but it is bound to be difficult, and it is a step-by-step learning process, from elementary to advanced. First, choose a square paper with the same size as the original post, and then face the original post face to face. Seek the same size first, and then follow the shape of God. This step requires patience and care, but also needs to read a word, remember a word, read a note, correspond to the heart and hand, and cooperate with the eyes and hands. Of course, the more you look, the better. On this basis, choosing a square paper with the same size and length as the original post for the whole page is not only to cultivate the overall grasping ability, but also to arouse the interest in the post. This is the most skillful step in the post and needs repeated practice to grasp it well. Then, the grid is enlarged. The difficulty in this step is to grasp the transition between the line thickness ratio and the structural polymerization ratio after several magnifications. You can partially copy and enlarge the original post text and compare the differences. If we can enlarge the whole article, it will be more beneficial to future creation. China Calligraphers Forum "R! ^！ o: O
& amp^( `，G/ J！ J6 y！ E$ D/ I5, facing back. The first four steps belong to the method of realistic copying, which is primitive and basic. The so-called basic calligraphy training can't pass, and the key is the ability to copy realistically. If this pass is good, you can master the original position skillfully and accurately, and then you can carry out back-to-back training. The so-called memorization means memorizing the original post, discarding the original post and writing temporarily to enhance memory, test learning effect and strengthen copying ability. Calligraphy, calligrapher; U. M7 Q" e/ o: O7 ~( _* }
Five p5 H-G&; R & ampI+I # o & amp； The 6th China Calligraphers Forum. Conception is the stage of copying, which I have accumulated in realistic copying. I think it has characteristics and style, which can be strengthened or expanded, and the training steps of selecting its essence and removing its dross. It needs a high degree of understanding and recognition to support it, and it is also a test of understanding the inscriptions attached to it with the support of the knowledge, knowledge and understanding of the copyist. The first thing to grasp is to reproduce the spirit of the original post, and the second is to expand the main features of the original post or emphasize the temporary writing. Without losing the style of the original post, it has its own understanding and personality. The key is to grasp this scale. I think it's better to have less personality, because it's also a matter of competition, and we can't give up all our efforts by emphasizing personality too much! Calligraphy, calligrapher' y6i * {"n6r; t3 g
/D； z)c/E)_ 5 k7 l & amp； Y% G5 i7 zbbs.china-shufajia.com V. How to change from learning to creation?
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% { 8o 0 G7 f 1 O4 d " o； Q: wbbs.china-shufajia.com, this is a problem that all calligraphers will encounter. We say that innovation on the basis of inheritance is from copying to creation. Copying is a means, not an end, and creating a book with its own personality is the end. Without the basic training of copying, the so-called innovation is like Gai Lou in the desert. On the contrary, just having the ability to copy without turning it into creation has become what we often call a book slave. Therefore, it is very important to master and learn the method from copying to creation. According to the author's experience in learning books, I think we should solve this problem from the following three aspects: calligraphy, calligrapher & problems; s+n5[" y # g # P8 N9 w & lt； br & gt& ltbr & gt+{ & amp； J r 1 i# _ m China Calligraphers Forum 1, Lin Chuang. Choose a group of words from nearby inscriptions, which can be a few words or a poem, and ask for transitional creation completely according to the words on the inscriptions. In fact, just like the word set, it maintains the structure and pen characteristics of the original inscription, but it is different from the original in content. Less words before more words, and then write the whole article, just to keep the style of the original post, preferably the original post. If the copying stage is solid, this transition should not be difficult, which is the minimum requirement for transferring to creation. Calligraphy, calligrapher 3 k! x/I(b " ^ h & lt； br & gt& ltbr & gt$ O2 M7 R(n * v . P0 C & amp； t-C； Vbbs.china-shufajia.com2, expanding the characteristics of Chukai. After selecting a content, expand and strengthen Chu Kai's basic brushwork, structure and main brushstrokes, and pay attention to retaining the charm of the original post to make it relatively free and lively. In proportion, 80% people keep the style of the original post, and 20% people understand and expand it by themselves. Calligraphy, calligrapher -o% q! t(I； }“Z/L！ I
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3. achieve mastery through a comprehensive study. First, focus on the main structure and brushwork of Chu Suiliang's regular script posts, and then combine the learning results of similar famous inscriptions with his own temperament. 60% keep the characteristics of Chukai, and 40% borrow other positions, which is very good. Of course, the author needs to be knowledgeable and thoughtful, to get rid of the rough and the fine, to get rid of the false and keep the true, and to achieve this goal with the support of comprehensive artistic literacy.