I divide children's calligraphy education into three stages, namely "attacking courage, attacking heart and attacking difficulties". Due to the differences in students' understanding, environment and perseverance, each student's own particularity is formed, so the teaching in each stage is relative, and there is no obvious boundary between stages.
First, the attack period
Children's interest in learning and practicing calligraphy is very important at the beginning. Interest means that when people are interested in learning something, they always focus on it, tend to it, and have some feelings for it. Therefore, interest is the premise of children's courage and the purpose of learning books.
First of all, let students understand the purpose of learning calligraphy, and at the same time introduce the development and evolution of China's calligraphy and the characteristics of various calligraphy styles. Then tell the anecdotes of ancient and modern calligraphers who are diligent and eager to learn, teach them to appreciate all kinds of regular script, arouse interest and introduce new lessons. Children are naive and active, and the educational methods are novel and appropriate, which can stimulate children's curiosity, enhance their interest in learning and improve the teaching effect. In order to effectively train children to learn calligraphy, I omitted the teaching process of "painting red", "double hook" and "Mi Zige" in my teaching. After the basic strokes are completed, let students write directly with waste newspapers, so as to dispel the dependence and frame constraints of children, cultivate "courage" and keep children in a state of writing while practicing calligraphy. Persistence is very important. Every time a student faces a word, it must be similar to a copybook before changing it. Some students wrote 100 many times at the beginning of a word. After about three or four months, students are required to write works. Start writing four characters one foot square on a four-foot banner to exercise children's courage. Through the practice of writing big characters, let children correct the defects such as slender, dry pen, bee waist, nail head and bamboo joint in the writing process, correct the defects in the word frame and quickly form the whole concept. Then guide students to enrich their knowledge from the aspects of words, signatures, seals, etc., so that the font, font framework and overall connotation are deeply melted in the innocent minds of children.
Second, the offensive period.
After the initial training in the bold period, let the children practice Chinese characters and fine print. Flower landscape poems are often used as text content to cultivate the mind, cultivate interest and exercise perseverance. Through the practice of writing Chinese characters and fine print, let children learn to express the contents of the book with the change of the shade of pen and ink and the thickness of lines, and finally get a preliminary understanding of the laws of neat and changeable pen, white and dense cloth and looking around.
In the critical period, even in the critical period, children can't learn calligraphy well without their own quality and ability training. The "critical period" can't take a font as a model like the "critical period", but we should teach students in accordance with their aptitude and focus on all aspects. According to each child's age, interest and personality characteristics, some children write regular script of Europe, Yan, Liu and Zhao Si, and some write Yu Shinan, Lin Suiliang and Xue Ji. This multi-regular education method not only improves the classroom atmosphere, but also makes the rise of children's learning books more and more profound, and also unconsciously improves their calligraphy literacy and ability.
During the critical period, we should pay special attention to students' pasting skills and work hard on their backs or minds. When a book is pasted several times, we should ask students to recite or express their ideas and gradually cultivate their original creativity. Every time a child writes a work, the teacher should strictly check it and practice it repeatedly until he is satisfied. In addition, students should be led to visit exhibitions, watch TV calligraphy lectures, hold various calligraphy classes and comment on works. And ask students to actively participate in various calligraphy competitions. Facts have proved that some students won a prize in a calligraphy competition, which inspired their confidence in studying and practicing calligraphy hard and formed an indissoluble bond with calligraphy.
Third, difficult times.
The process of learning calligraphy is actually a process of constantly overcoming difficulties. It is more and more difficult to learn calligraphy from beginners to create a good work independently, just like climbing a mountain. In the period of "overcoming difficulties" and "attacking the heart", there is also the problem of "overcoming difficulties". Here, I mainly talk about overcoming the "difficulties" in improvement on the basis of regular script. The children have studied regular script for several years, with different differences. In order to consolidate and improve their calligraphy, I will guide them to learn from Han Li and Wei Bei. Through the temporary writing of the epitaphs of Zhang Qianbei, Li Bei, Yi Ying Bei, Zhang Menglong Bei and Zhang Hei, we can understand and gradually master the structure and brushwork of different calligraphy styles. Through training, some students who are not good at writing regular script, but are better at writing official script or Wei Bei, are more interested. Some students with good calligraphy foundation have further improved. There is a good phenomenon among dozens of children who study, that is, books are diverse and have their own strengths. What we should pay attention to in teaching is that students should not always practice hard according to what the teacher wrote in order to win the prize in the competition. This student writes "Flowers of the Motherland", that student writes "How beautiful the country is", and so on. At first glance, I knew it was taught by the teacher, with a face and no student's personality. It is a difficult leap from writing rubbings to calligraphy creation, just like walking with crutches. Children have a certain foundation in calligraphy and want to create. This aspect can best reflect their nature and character. I will guide them, don't insist on uniformity, explain some elements of creation, such as composition, style, brushwork and style, and cultivate and improve their understanding of creation. The content of creation is to select famous sayings and poems familiar with the text, and let them create, play and compare themselves as much as possible. Through creative practice, let children reflect on what they have learned well and what they need to work hard, and take problems and difficulties as the goal of learning books in the next stage. Therefore, children's creativity has been improved.
Most of the students I teach are primary school students, and now some of them have entered junior high school. Learning culture well is their main course. I emphasize this point very much, telling them the role of learning cultural knowledge, including music, painting and dance, in learning calligraphy well, and cultivating their artistic concept and realm from an early age.