Inscription is the crystallization of China's traditional calligraphy art and the precious wealth left by ancient calligraphers. Each stroke contains calligraphy. When we study calligraphy today, we should choose a tablet that suits our temperament and hobbies from many tablets, instead of taking it for granted. Improper selection of posts will naturally lead to fewer detours, that is to say, good selection of posts can lay a solid foundation for you to learn calligraphy.
The ancients said, "Those who take the law will only get it." If you take the law, you can only get it. "This tells you that you should choose the best position. Choosing a position is like choosing a teacher. Who doesn't want to choose the best teacher? How to choose? Looking back on my decades of experience in learning calligraphy, I think: to learn calligraphy, we should choose a calligraphy style that suits us, compare several kinds of inscriptions, and choose a calligraphy style that is close to our own temperament according to our hobbies, so it is easy to stimulate our enthusiasm and interest in learning calligraphy. Zhou Xinglian's "My humble opinion on Linchi" puts forward that "if you take the method, you have to win; Everybody said it. However, the highest state in the world can be achieved by everyone, but not everyone. He also pointed out that learning books should be "step by step, such as climbing stairs, one step at a time". "People who are keen on learning calligraphy today should think deeply about this truth.
For different people, job selection should be different. For example, the quiet type (introverted type) is generally calm and steady, and it is not appropriate to choose a gorgeous style. On the contrary, the excited type (extroverted type) is generally enthusiastic and lively, and it is bound to like the vigorous and flexible inscription. Therefore, the selection of posts should be based on personal character and hobbies, not the other way around. Many friends will ask me this question when they talk about learning calligraphy. There are some different views and opinions on this issue at all times and at all times. As far as calligraphy is concerned, there are five styles of calligraphy, namely Kaili seal script and cursive script, and there are more subdivisions.
Beginners of calligraphy often don't know how to choose China, a colorful calligraphy art palace. I am a calligraphy lover with traditional skills, and my proposition is naturally to learn regular script first. Many friends say that Tang Kai is the pinnacle of regular script in China's calligraphy, and he can't surpass it again. Why should we learn regular script first? This idea has great limitations. I think regular script still has room for improvement. Tang script is the peak of regular script, but it is not an insurmountable peak, let alone a peak. Everything develops and changes, so does regular script. I often tell these friends about my teacher. It is an indisputable fact that the Tian brothers are more vivid, vivid and infectious than their European regular script.
Another reason why I advocate learning regular script first is that the foundation is not solid. In my opinion, people who study calligraphy today, no matter what kind of calligraphy realm they reach in the future, must make solid efforts on the basis of regular script in the primary stage. By learning regular script, we can lay a solid foundation of basic brushwork and basic structure, and gradually achieve meticulous brushwork-contrast, accurate structure-meticulous words, proper techniques and accuracy.
Fine brushwork: that is, the accuracy of basic strokes from image to scale (length and thickness), thickness and brushwork, and shall not be squeezed at will.
Pay attention to structure: that is, every word is composed of basic strokes, which are matched accurately in the position of point strokes.
Fit: ensure that the center of gravity is stable, fair and reasonable, the configuration is symmetrical, the response is in place, and the stagger is appropriate.
Wang Xizhi once said, "A little loss is like a beauty's illness." "Make a move like a strong man brokeback. Do not be careless. " This fully shows the accuracy of the strokes and positions of points, and how important it is to re-study this book.
I advocate regular script because regular script is the basis of other running scripts. No matter what running script you write in the future, regular script should have solid basic skills. Every time I visit Mr. Tian Yingzhang and Mr. Liu Bingsen, they all say similar things. Your running script is good. After a while, you will write better and better, as will other plays.
My practice of learning books has proved this truth. On Exquisite Consciousness by Mr. Wang Zengqi and Exquisite Calligraphy by Comrade Lin Xiu have been read many times, which are also very enlightening. What is the consciousness of fine calligraphy? In calligraphy creation, a calligrapher will write many works in his life, but when it comes to fine works, it is generally rare. What is the reason? Analysis, quality consciousness will play a great role. In other words, if a calligrapher has a strong sense of fine works, he may write more fine works, and only with the sense of fine works can there be fine works.
What kind of works can be called fine calligraphy? Mr. Lin Xiu proposed that "at least it should be a work of art with perfect techniques and connotations". But when it comes to specific standards, it is difficult to have a recognized standard.
Some people say that a calligrapher's masterpiece is his representative work, but in fact, the representative work is not necessarily a masterpiece. Generally speaking, a calligrapher's creative process consists of prophase, metaphase and anaphase; There are also age groups: youth, middle age and old age. There will be his representative works in a certain period of time, but as far as life is concerned, representative works are not completely equal to fine works. As far as calligraphers are concerned, fine works are generally produced between the ages of 50 and 70. In terms of foundation and energy, these 20 years are the peak of creation, and also the period when fine works may appear.
For today's calligraphy circle, I think it is necessary and urgent to establish a sense of quality products. I have participated in many pen meetings and exhibitions, and there are many "calligraphers" who scribble with pens at pen meetings. Is a waste of pen and ink; There are also many typos, missing words, and even words that can't be hung at all appear repeatedly every time, which has no sense of quality.
I have developed the habit of being serious, meticulous and responsible since I was a child. In calligraphy creation, I insist on never losing a work I am not satisfied with. The pen club will be created on the spot, and those who are dissatisfied will never be stamped and destroyed immediately. An "entertaining" work will not be shown in the exhibition. This may be the influence of quality consciousness on my calligraphy and painting creation. There have always been different views on the discussion of "beauty" and "ugliness" in calligraphy creation, and one school is called "ugly book". Calligraphy, as the quintessence of China and the symbol of Chinese civilization, can't be discussed without beauty in any case. As a calligrapher, we should constantly create more beautiful calligraphy art on the solid foundation of predecessors' creation, and dedicate it to society, people and history, so that the calligraphy art can continue to innovate and develop.
However, in today's colorful calligraphy and painting circles, we often see some works depicting wasteland, stupid trees and ugly people, which completely destroys the structure of Chinese characters in China, not to mention the brushwork, brushwork and composition. Can this be called China's calligraphy? It may also be another work of art, which does not belong to the category of calligraphy. Since it is not a written word, it cannot be called calligraphy art.
Because the art of calligraphy must be based on characters, with perfect character structure, skillful brushwork, coherent inter-row momentum and appropriate overall composition, the art of calligraphy is to create "beautiful" works, and calligraphy must never be led to the evil path of creating "ugly". The times are developing, our economy is developing constantly, and our culture and art should also keep pace with the times.
As far as calligraphy art is concerned, it can be divided into two elements, one is practical art and the other is pure art, both of which are for different purposes and pursue a higher artistic realm in different directions. Teacher Liu Bingsen has talked about this issue many times, and many comrades have different opinions.
Personally, I think that since the purpose of calligraphy is to create "beauty", we should respect the habit of national appreciation, constantly innovate and develop on the basis of inheriting the traditional calligraphy art, explore a new style of the times, form a distinctive personal artistic style, constantly meet the needs of the broad masses of people for calligraphy art appreciation with the aesthetic feeling of text structure and brushwork, and at the same time improve the aesthetic ability of the broad masses of appreciators. When visiting the calligraphy exhibition, I sometimes see a painting, which is very touching. Attract people's attention, make people emotionally shocked, and make people reluctant to leave for a long time. Later, I analyzed why such works can be touching and attractive. For example, Wang Xizhi's Preface to the Lanting Pavilion makes people never tire of reading it, which is the vividness of the work at work.
So, how to reflect the vividness of calligraphy works? First, the vivid image of structure; second, the vivid image of the whole composition; third, the vivid sense of force; fourth, the vivid image of Mo Yun.
I began to strive to express the vividness of my works in calligraphy creation, aiming at constantly improving the vividness of my works, measuring each work, constantly improving my creative level and making contributions to the development and inheritance of China traditional culture. About creation. For many years until now, I have been studying for advice and thinking about this problem. Great calligraphers at all times and all over the world have emphasized that "learning from the past but not from the past" and "bringing forth the old and bringing forth the new" are scientific. Some people say that "learn from me and live like me" is reasonable. Because the laws of nature change with the development of sports. The same is true of the evolution of calligraphy art, and what we are discussing is the inherent law of calligraphy. Innovation should first be familiar with the evolution of ancient law and its characteristics of the times, and then its creative thinking and expression. This process needs in-depth study and research to enrich personal understanding and expression skills of calligraphy. Such as honest and frank's generous face, Wang Xizhi's comely wisdom, Zhao Mengfu's harmony, Wang Duo's swaying posture, Yu Youren's central pen, and its wonderful knot.
Take these characteristics as "elements" in your mind, keep them in mind and keep practicing. As a creative idea and expression in the future, it is skillfully used to make it organically reflected in its own works.