1. The structure and brushwork of characters in calligraphy have nothing to do with the size of characters. Just because of the calligrapher's personal level and aesthetic of the times. That is to say, "the past was bad, but now there are different disadvantages."
2. It is impossible to judge which is better, post-school or stele study. This is a question of the aesthetic atmosphere of the times. Before the mid-Qing Dynasty, epigraphy was the main aesthetics of calligraphy, and epigraphy dominated from Bao to the first half of last century. But overcorrection has created new disadvantages. Personally, I think the inscription is also written with a brush, and then engraved on the tablet, which naturally has a pen meaning and also has the aesthetic interest of stone carvers. For older people, the so-called "golden spirit" formed by natural weathering will be there. Therefore, both paste learning and stele learning should be paid equal attention, and the correct way is to paste the stele.
3. Big print and small print. Before the Ming Dynasty, due to the limitation of papermaking, most of the paintings and calligraphy works were small in scale. Therefore, there are basically no big characters in the works that have been handed down to this day. After the Ming dynasty, papermaking was developed and buildings tended to be tall, so huge paintings and calligraphy appeared.
As for writing small characters, it is easy to write big characters, mainly for visual reasons. Small print is easy to hide the defects of structure and brushwork, and the defects are naturally obvious after enlarged writing. People mistakenly think that small words are easier than big words. In fact, it is still a problem of solid basic skills.
4. Solutions. Learning books should start with big characters, so as to find and correct the defects and problems in learning in time. Block letters are written, and they only need to adapt for a while.
5. Skilled. Only by repeated practice can we master the characteristics of the brush. The heart and hands are integrated, like armbands and fingers. Sticking is a necessary homework, and face, back and meaning are the key processes and nodes. Without the traditional knowledge of later learning, innovation can only be a castle in the air. Nearly half of Wang Duo's works handed down from generation to generation are the works of predecessors.